Much work on tidying documentation, uncompleted.

doc/API_Spec.md

@@ -1,4 +1,4 @@
-# API Spec
+# API Spec (unfinished)
 
 If the Gossip system is ever to be deployed in practice at all, it will need to be deployed as a library add-on to someone else's game, since in practice The Great Game will never be even nearly finished. The game engine already knows many of the things the Gossip system needs to know; that we need to define is an interface which allows Gossip, considered as a subsystem, to query the game engine.
 
@@ -8,7 +8,7 @@ My preference is still that Gossip should be written in a Lisp-like language - a
 
 Existing game engines don't tend to track in convenient form things which have happened off-camera - indeed, mostly, things don't happen at all when the player isn't present. They don't even track much that happens when the player is present, and they usually track what they do track in fairly ad-hoc ways. So generally Gossip-as-library will have to maintain its own history of what has happened, and who knows what about what has happened; and will have to model the major life events of non-player characters happening off-camera (if this is done at all) itself.
 
-## Interrogating lore
+## Interrogating lore
 
 Many games have a great deal of lore and many lore texts. It's reasonable to expect each non-player character to know a certain amount of lore, certainly lore which is local to their home location, or relevant to their trade. In order to make that available to Gossip, you probably need to construct a searchable corpus of all the lore, which can be simply queried.
 

doc/Appraisal.md

@@ -1,4 +1,4 @@
-# Appraisal
+# Appraisal (unfinished)
 
 ## What is Appraisal
 

doc/Biomes_and_ecology.md

@@ -1,4 +1,4 @@
-# Biomes and ecology
+# Biomes and ecology (unfinished)
 *The motivation for this document was to explain the mulberry trees in the Tcha valley, and think about why Tchahua is especially a centre for the silk trade*
 
 ## Broader geography
@@ -108,7 +108,7 @@ The Tcha is the westernmost — and largest — river of the coast. It e
 
 A road branches off from the main Caravan Road at the South Inn and runs down the eastern side of the valley, to a ferry across the Sind river, where it joins the Tcha as a tributary, at the village helpfully known as Sind Ferry, and thence to Tchahua.
 
-Mulberries, by products of the silk industry, are used in the production of brandy. Mulberry wine is produced in villages in the forest, and transported down river to a distillery at Sind Ferry, where it is distilled. Some mulberry wine may be sold in Tchahua for drinking as wine (and it is certainly drunk in the villages), but it is generally considered inferior to grape wine.
+Mulberries, by-products of the silk industry, are used in the production of brandy. Mulberry wine is produced in villages in the forest, and transported down river to a distillery at Sind Ferry, where it is distilled. Some mulberry wine may be sold in Tchahua for drinking as wine (and it is certainly drunk in the villages), but it is generally considered inferior to grape wine.
 
 There is some arable and mixed agriculture, mainly towards the southern end of the valley on the western (less steep) side, although this side is also largely forested. 
 

doc/Division_of_tasks_between_server_and_client.md

@@ -8,7 +8,7 @@ There is something which manages game state and things like the gossip network,
 
 The initial idea of The Great Game is that it is a single player game, but it actually doesn't need to be and it would be quite possible for one server to support multiple clients, each being used by a different player. 
 
-The server/planner decides what each actor does, models what each character knows, plans and records all actions and transactions. It plans speach acts, and handles conversations which happen off screen, but hands speech texts over to the client/performer layer for actual performance. It also plans journeys as described in [[Pathmaking]], but it doesn't deal with movement within a polygon or with collision avoidance. It deals with fights which happen off screen, but not those that happen on screen.
+The server/planner decides what each actor does, models what each character knows, plans and records all actions and transactions. It plans speech acts, and handles conversations which happen off screen, but hands speech texts over to the client/performer layer for actual performance. It also plans journeys as described in [[Pathmaking]], but it doesn't deal with movement within a polygon or with collision avoidance. It deals with fights which happen off screen, but not those that happen on screen.
 
 ## What do I mean by the client?
 

doc/Economy.md

@@ -6,7 +6,7 @@ Broadly this essay extends ideas presented in [Populating a game world](Populati
 
 ### Herdsfolk
 
-Herdsfolk are nomadic; it's reasonable to think they'll bring their herds to market, rather than selling it lots of tiny markets. So in the spring, shepherds will visit specific towns at the edge of open land, to hold a shearing festival/carnevale; and that both shepherds and cattle herders will visit towns on the edge of open land to sell fatstock in the autumn.
+Herdsfolk are nomadic; it's reasonable to think they'll bring their herds to market, rather than selling at lots of tiny markets. So in the spring, shepherds will visit specific towns at the edge of open land, to hold a shearing festival/carnevale; and that both shepherds and cattle herders will visit towns on the edge of open land to sell fatstock in the autumn.
 
 ### Miners
 
@@ -38,7 +38,11 @@ Farmers are all basically subsistence farmers, farming first to feed their own h
 
 Crafts generally process primary goods into secondary goods - whether intermediate stages or final consumer items. Some elite 'crafts' deal with abstract primary goods like law and knowledge, and they may be seen as somewhat separate.
 
-A master craftsperson occupies a standard runrig plot, much like a farmer's plot. Like a farmer, a poor master crafter household will cultivate part of the plot to produce food for the house - at least grow vegetables and keep hens. However, as the crafter takes on apprentices and journeymen - and gets richer - more buildings will be required as accommodation, workshop space and materials stores.
+A master craftsperson may occupy a standard runrig plot, much like a farmer's plot. Like a farmer, a poor master crafter household will cultivate part of the plot to produce food for the house - at least grow vegetables and keep hens. However, as the crafter takes on apprentices and journeymen - and gets richer - more buildings will be required as accommodation, workshop space and materials stores.
+
+Also, Tchahua is much more a gold-rush town than an organic, grew over hundreds of years sort of town, so it is not ex-runrig; and additionally the original settlement was probably along the river bank, land which has now been redeveloped as warehouses and as rich merchant residences. Generally, town house plots are small from the get go.
+
+Hans'hua is again an exception from normal organic development, as it has no agricultural land close to the city at all.
 
 Generally, primary goods aren't transported over land - because overland transport is expensive, by the time they've been transported they're no longer low cost goods. So often the craftspeople who process primary produce into at least commodity intermediate forms will live close to the source of the primary goods.
 

doc/Game-engine-integration.md

@@ -1,4 +1,4 @@
-# Game-engine integration
+# Game-engine integration (unfinished)
 
 To build a game using these ideas we need a lot of things that are well understood and already implemented: rendering a world, moving models of characters in a world, and so on. This collection of technologies which allow us to realise an interactive realisation of a world is typically called a game engine.
 

doc/Game_Play.md

@@ -2,19 +2,19 @@
 
 The principles of game play which I'm looking for are a reaction against all I see as wrong in modern video games. So let's set out what these are:
 
-1. Superpower: the player character has some special powers or skills that other characters in the game fo not have.
+1. **Superpower**: the player character has some special powers or skills that other characters in the game fo not have.
 
-2. Special status: the player character is 'the chosen one', 'the hero', or even just 'the Witcher' from the very beginning, without having done anything to earn those titles.
+2. **Special status**: the player character is 'the chosen one', 'the hero', or even just 'the Witcher' from the very beginning, without having done anything to earn those titles.
 
-3. Boss fights: some non-player characters have special, and specially strong, combat repertoire, and block progress in the game until you overcome them.
+3. **Boss fights**: some non-player characters have special, and specially strong, combat repertoire, and block progress in the game until you overcome them.
 
-4. Psychokiller: completing the game necessarily involves beating many, many other characters in combat.
+4. **Psychokiller**: completing the game necessarily involves beating many, many other characters in combat.
 
-5. Slaughterhouse: the main way to interact with other characters is to kill them.
+5. **Slaughterhouse**: the main way to interact with other characters is to kill them.
 
-7. The Script is King: everything is scripted. The player either can't diverge from the script, or if they do, will find no interesting content.
+7. **The Script is King**: everything is scripted. The player either can't diverge from the script, or if they do, will find no interesting content.
 
-6. Dumb and dumber: non-player characters, even important ones, have extremely limited vocal repertoire.
+6. **Dumb and dumber**: non-player characters, even important ones, have extremely limited vocal repertoire.
 
 Of these, the last two, I think, are key: they are the root cause of the other problems. In fact, to take it further, the real key is the last. We talk a lot about 'Game AI', but really there's nothing remotely approaching artificial intelligence in modern games. Non-player characters do not think; they do not learn; they do not reason; they do not know. They speak only from the script. And they speak only from the script because of the fetish for voice acting.
 
@@ -28,7 +28,7 @@ Suddenly, they can have attitudes about things that happen in the world, opinion
 
 And with the emergence of intelligent behaviour comes the emergence of possibilities for negotiation, for diplomacy, for dynamic, unscripted, friendships and romances. Which means, there are things you can do to interact with every non-player character, even ones who are not 'plot' characters, other than just kill them.
 
-And as now gameplay possibilities emerge, as new stories emerge organically out of the dynamically changing relationships between non-player characters in the world, the need for scripting decreases.
+And as new gameplay possibilities emerge, as new stories emerge organically out of the dynamically changing relationships between non-player characters in the world, the need for scripting decreases.
 
 The problem with scripting is that it greatly limits player agency. The story can only have one of a few predetermined -- literally, scripted -- endings. This is clearly expressed in [a review of Red Dead Redemption 2](https://youtu.be/_JRikiQyzLA) which I recomment to you; but is equally true of almost all other games.
 

doc/Gossip_scripted_plot_and_Johnny_Silverhand.md

@@ -15,7 +15,7 @@ What individual characters know should, of course, be more limited. People who l
 
 Again, the generation of distinct voices for hundreds of non-player characters isn't any longer a big deal. Distinct social groups -- the corpos, and the different gangs such as Maelstrom or the Mox, will have their own argot, their own slang, their own habitual figures of speech which can be encoded into template libraries, while technologies like Lyrebird can produce an infinite range of realistic-sounding voices.
 
-In particular, they can mimic real voices. They can mimic the voices of real actors. They can mimic [Keanu Reeves](https://cyberpunk.fandom.com/wiki/Keanu_Reeves).
+In particular, they can mimic real voices. They can mimic the voices of real actors. They can mimic [Keanu Reeves](https://cyberpunk.fandom.com/wiki/Keanu_Reeves). (Interestingly, since I first wrote this note, CD Projekt Red have used Lyrebird-like technology to [resurrect a voice actor](https://www.theverge.com/2023/10/13/23915535/cyberpunk-2077-phantom-liberty-polish-voice-actor-ai-ripperdock-viktor-vektor) in Phantom Liberty, proving that the technology is good enough).
 
 So: how do you integrate this free form 'you can say anything to any character' style of play with scripted plot?
 

doc/MVP-Roadmap.md

@@ -46,7 +46,11 @@ Different characters should have different voices.
 
 ## Prototype four: performative speech
 
-This one is hard because I'm not absolutely sure how I can do it, but I need characters' voices to convey emotion; the player needs to know from their voice whether they are angry, or frightened, or impatient, or bored.
+This one is hard because I'm not absolutely sure how I can do it, but I need characters' voices to convey emotion; the player needs to know from their voice whether they are angry, or frightened, or impatient, or bored. 
+
+There is a [W3C specification](https://www.w3.org/TR/speech-synthesis11/) for an XML markup for speech performance, and I can certainly generate that, but I'd need to find a text-to-speech library which could consume it. There's also a separate [specification](https://www.w3.org/TR/pronunciation-lexicon/) to associate pronunciations with lexical tokens, which is also potentially useful, especially for names.
+
+Google has a '[Cloud Text-to-Speech](https://cloud.google.com/text-to-speech/docs/ssml)' service which understands SSML and might be good enough for a demo but is more likely just embarrassingly bad.
 
 ## Prototype five traversible world
 

doc/Modelling_democracy_and_morale.md

@@ -1,4 +1,4 @@
-# The Red Company: modelling democracy and morale
+# The Red Company: modelling democracy and morale (unfinished)
 
 ## Background
 
@@ -25,3 +25,5 @@ One of the themes of the stories I want to tell is that this more democratic str
 ## Modelling democracy
 
 If each individual character has a hierarchy of needs, and plans actions based on that hierarchy of needs, then they have the mechanism in place to choose which of two options better conforms to their hierarchy of needs.
+
+This implies that soldiers are likely to vote for the people (or ideas presented by the people) they consider most competent and/or most trustworthy. Which comes back to modelling reputation; which comes back to the [gossip](the-great-game.gossip.gossip.html).

doc/Modelling_trading_cost_and_risk.md

@@ -1,4 +1,4 @@
-# Modelling trading cost and risk
+# Modelling trading cost and risk (unfinished)
 
 In a dynamic pre-firearms world with many small states and contested regions, trade is not going to be straightforward. Not only will different routes have different physical characteristics - more or less mountainous, more or fewer unbridged river crossings - they will also have different political characteristics: more of less taxed, more or less effectively policed.
 

doc/My-setting.md

@@ -1,5 +0,0 @@
-# My setting for the Great Game
-
-It should be evident that all the key ideas in The Great Game project would be applicable to games set in the historic past of our world, to games set in its present, or to games set in some imagined or forecast future; the ideas are intended to be, and I believe are, largely independent of setting.
-
-Nevertheless I feel the need for a concrete setting to ground the development of ideas. I've chosen deliberately not to place that setting in the real world; although it's broadly based on cultures from the late bronze age/early iron age mediterrainian. 

doc/On-sex-and-sexual-violence.md

@@ -6,7 +6,7 @@ It would be ludicrous to argue 'sexual violence is wrong, therefore we should no
 
 Firstly, sexual violence is extremely gendered. Yes, male people are sometimes subjected to sexual violence, but nevertheless the overwhelming majority of victims of sexual violence are female. Yes, female people are sometimes — extraordinarily rarely, but sometimes — perpetrators of sexual violence, but nevertheless perpetrators of sexual violence are almost exclusively male.
 
-Secondly, it is extremely tricky to represent sexual violence in visual media without eroticising it. There's a [very famous scene in Last Tango in Paris](https://www.independent.co.uk/arts-entertainment/films/news/last-tango-in-paris-butter-scene-b2270513.html) which the director might claim is consented in context, but which appears to me to be a clear case of anal rape, which is nevertheless highly erotic. There's a scene in [High Plains Drifter](https://en.wikipedia.org/wiki/High_Plains_Drifter#Plot) where no part of the rape is actually represented — it happens off screen — but it is nevertheless perceived by many people (including me) as eroticised. Many people — I suspect more men than women, but certainly including women — do find the idea of rape erotic. It seems to me highly undesirable that a game should be seen to be rewarding immoral action.
+Secondly, it is extremely tricky to represent sexual violence in visual media without eroticising it. There's a [very famous scene in Last Tango in Paris](https://www.independent.co.uk/arts-entertainment/films/news/last-tango-in-paris-butter-scene-b2270513.html) which the director might claim is consented in context, but which appears to me to be a clear case of anal rape, which is nevertheless highly erotic. There's a scene in [High Plains Drifter](https://en.wikipedia.org/wiki/High_Plains_Drifter#Plot) where no part of the rape is actually represented — it happens off screen — but it is nevertheless perceived by many people (including me) as eroticised. Many people — I suspect more men than women, but certainly including many women — do find the idea of rape erotic. It seems to me highly undesirable that a game should be seen to be rewarding immoral action.
 
 (Yes, I know many modern games do quite explicitly reward killing, including of characters whose culpability is at best trivial, but — surely — this is something we should be seeking to move away from.)
 
@@ -40,7 +40,7 @@ If we're going to represent a society in which public sex is normal, then we're
 
 By 'eroticised', I'm meaning deliberately intended to trigger sexual feelings in the audience — which, if the player character is present, includes the player.
 
-## Sexual violence between non-player characters
+## Sexual violence between non-player characters
 
 In a world in which there are characters who are thuggish, who seek to dominate, terrorise and subdue other characters, whether those characters are outlaws or soldiers or aristocrats, to pretend that rape would not be used as a means to dominate, terrorise or subdue is… bowdlerisation. It's unrealistic, and it's a morally indefensible choice.
 
@@ -50,7 +50,24 @@ So there has to be a mechanism for non-player characters to decide to commit act
 
 Mutually consented sexual behaviour between the player character and (certain, scripted) non-player characters has been a feature of video games for some time, and has occasionally been portrayed with real sensitivity and eroticism. Two cases I would point to are 
 
-1. The sex scene between Geralt and Shani in [The Witcher]()
+1. The sex scene between Geralt and Shani in The Witcher;
+2. The sex scene between V and Judy in Cyberpunk  2077.
+
+Cyberpunk is a largely non-cutscene game, but the sex scenes is a cutscenes and I completely understand why, from a technical point of view: the player does not have, either with mouse and keyboard or with a game controller, nearly enough control over their character to convey the subtlety and nuance of a good sex scene. Sex scenes in most video games are also pretty rare, and that must be at least partly because of cultural prurience. 
+
+But if a game allows a player to have a long lasting, narratively sexual relationship with a non-player character, as many games do, then sex is a behaviour which may happen repeatedly, and just playing the same cutscene over and over again is not going to be an adequate way of representing that.
+
+The ideal would be to have a moderately large library of brief motion captures of people authentically having sex, and to be able to select performances at random from that library to apply to the body models of the characters who in the game are having sex, whether that be the player character with a non-player character, or two non-player characters. In the case where the player character is involved, this would happen in the location where the player chose to initiate it, so it wouldn't be a cutscene in the normal sense; but I think that the controller should be disabled for the duration of the performance.
+
+## Sexual violence by one non-player character towards another
+
+This is at least implicitly represented in existing video games, and while caution about eroticising it should be maintained, I think it's something which should be narratively possible.
 
 ## Sexual violence from the player character towards non-player characters
 
+This would be extremely tricky (and controversial!) to handle; I *think* it ought to be in the narrative toolkit, but I have no specification to offer just now.
+
+## Sexual violence from a non-player character towards the player character
+
+Even trickier!
+

doc/genetic-buildings.md

@@ -1 +0,0 @@
-workspace/blogiv/content/md/posts/2013-07-04-genetic-buildings.md

doc/genetic-buildings.md

@@ -0,0 +1,61 @@
+# Genetic Buildings
+
+### Building selection based on location
+
+ The objective of this note is to create a landscape with varied and believable buildings, with the minimum possible data storage per instance.
+ 
+ Like plants, buildings will 'grow' from a seed which has northing and easting attributes. These locate a position on the map. Again, like trees, some aspects of the building type selector are location based. Aspects of the location which are relevant to building type are
+ 
+* **elevation** — derived from the map location by interpolation from grid. The actual interpolation algorithm is probably some form of spline, but in any case it's the same one as for everything else. 
+* **orientation of slope** — derived by taking altitude at four corners of a 100 metre square centred on the seed point, and then taking the highest and lowest of these. If highest is northwest, lowest is southeast, the slope is considered to be oriented southeast; if highest is northwest and lowest southwest, the orientation is considered to be south, and so on. Eight orientation values are sufficient. 
+* **gradient of slope** — derived from the difference in altitude across the same 100 metre square 
+* **neighbours** — number of other buildings in 500 metre square centred on seed point. 
+
+ The reason orientation is relevant is exactly the same as the reason it's relevant to trees. West facing slopes are assumed wetter (coriolis winds), so grow trees better, so better availability of better quality timber, so a higher probability of timber as a primary building material. But also, in areas of higher rainfall, rain shedding is an important consideration, so a higher value is placed on pitched roofs.
+ 
+ So you have the following general relationships
+ 
+* west (or southwest or northwest) facing, moderate gradient, moderate altitude: high probability of timber construction; construction techniques involving large timbers (e.g. cruck frame); greater probability of shingled roofs; 
+* west (or southwest or northwest) facing, moderate gradient, higher altitude or northern latitude: high probability of building styles adapted to straight-trunk conifers, e.g. log cabins, stave buildings; greater probability of shingled roofs; 
+* east facing, generally: greater probability of flat roofs; 
+* steeper gradients: greater probability of stone buildings (steeper gradients = shallower topsoil and greater ease of quarrying = access to stone); greater probability of slate roofs; 
+* shallower gradients: greater probability of mud, cobb, brick or wattle-and-daub as building materials; greater probability of thatch or turf roofs; 
+* Higher number of neighbours: higher probability of two or more stories; 
+
+ These factors allow classes of building to be selected. Having got past that point, we need to consider how classes of genetic building can work.
+ 
+### Rectangular genetic buildings
+
+ Some genetic buildings will have cells with rectangular plan. This doesn't mean that genetic buildings are required to have rectangular cells, but they provide a starting point for discussion. For a given class of building (for example, timber frame), a number of prototype models of cells exist. These models are fully realised three dimensional models. Possibly all cells belonging to the building class have two open ends, and end walls exist as separate models; equally possibly, some cells have only one extensible end. In any case, a building will not normally comprise a single cell. Normally it will comprise multiple cells. So the cells belonging to a particular building class will be designed to 'plug together'. Multi story building classes will have some cells which are specifically ground floor only (flat ceiling, no roof), and such cells will always have an upper floor cell added above them. Where an upper floor cell has an outside door, an outside stair will automatically be added.
+ 
+### Cell mutability
+
+ Although cell models are repeatedly reused they don't have to look the same every time they are reused. Within limits, every cell can be stretched along any of its three axes. Obviously, the degree of stretch on a given axis for every cell in a given building must be the same, otherwise they won't line up. Another mutable area is skinning — it may be possible to have alternate skins for cells, and even if there are not alternate skins, it will be possible to mutably darken, lighten or otherwise tint the skins used, within ranges which are appropriate to the materials represented. Obviously there are limits to stretching — timber comes in only such a length, stone lintels will only support such a span.
+ 
+### Functional cells
+
+ Some trade functions require cells of particular kinds. Thus a smith needs a working building with one cell which is explicitly a forge. A water mill must have one cell which explicitly houses the mill gear. A forge cell or a waterwheel cell should never appear in weavers workshop. But most cells are not dedicated in this way. A bedroom cell is a bedroom cell, more or less; wealth may alter how it is furnished, but it may appear in any dwelling. Similarly, except for the very wealthy, a living cell is pretty much a living cell. And any building may incorporate a storage cell. If a given building class has twelve distinct 'generic' cells' and half a dozen distinct functional cells, and if buildings in the class average four cells each, then ignoring variance caused by skin mutability, a street of fifty buildings could have every one different.
+ 
+### Reproducibility
+
+ It's critical that if a player visits a location, leaves it, and then returns, the buildings should not all have changed. So it must be possible to repeatedly reproduce the building at the location (this, of course, applies to other procedural scene dressing, such as trees, roads, boundaries, bridges and so on). This is possible if a deterministic random number generator is used which is seeded from the latitude and longitude attributes of the location. Other attributes which should be cached on the seed even though they are determined procedurally when the building is first instantiated include building class, purpose, and wealth. Using these attributes and the deterministic random number generator, the same building can be reproduced on the same site each time it is visited, with a very small amount of data stored.
+ 
+ Buildings will normally be built at the edge of the associated land holding. If an edge of the land holding adjoins a road, then the building will be built with one long side aligned to the road. Otherwise, the building will be built at right angles to the orientation of the slope. The orientation will be 'frozen' once the building has been instantiated and will be cached on the seed.
+ 
+ So, to build a building, use the following algorithm:
+ 
+ Seed the random number generator with latitude and longitude
+ 
+ ```
+ while ( building value is less than wealth) {
+    select a cell selected from the building class using the next number from the random number generator modulo the number of generic cells in the class;
+    if the selected cell is not inappropriate to the building's function {
+        fit the cell to the building at the point determined by a deterministic algorithm
+        furnish cell using the random number generator to determine
+        furnishing types and locations from a selection appropriate to the cell
+        if the selected cell was not a top story cell {
+             add a requirement that the next cell selected must be an upper story cell}
+    }
+ }
+ ```
+ 

project.clj

@@ -29,7 +29,7 @@
             :url "https://www.gnu.org/licenses/old-licenses/gpl-2.0.en.html"}
   :plugins [[lein-adl "0.1.7"]
             [lein-cloverage "1.2.2"]
-            [lein-codox "0.10.7-cloverage"]
+            [lein-codox "0.10.8"] ;;[lein-codox "0.10.7-cloverage"]
             [lein-cucumber "1.0.2"]
             [org.clojars.benfb/lein-gorilla "0.7.0"]
             ]

src/cc/journeyman/the_great_game/agent/agent.clj

@@ -66,46 +66,46 @@
                                      `world`.")
   (tired? [actor world circle] "True if this `actor` needs rest."))
 
-(defrecord Agent
-  ;; "A default agent."
-           [name craft home culture]
-  ProtoObject
-  ProtoContainer
-  ProtoAgent
+;; (defrecord Agent
+;;   ;; "A default agent."
+;;            [name craft home culture]
+;;   ProtoObject
+;;   ProtoContainer
+;;   ProtoAgent
 
-  (act
-    “Return a world like this `world `except that this `actor `has acted in it.
-    ‘Circle’ indicates which activation circle the actor is in.
+;;   (act
+;;     “Return a world like this `world `except that this `actor `has acted in it.
+;;     ‘Circle’ indicates which activation circle the actor is in.
 
-    Note that this implies that a `plan `is a function of three arguments, an
-    actor, a world. and a circle.”
-    [actor world circle]
-    (let [urgent (case circle
-                   :other (cond
-                            (pending-scheduled-action? actor world circle) 
-                            (plan-scheduled-action actor world circle)
-                            (empty? (:plans actor)) 
-                            (plan-goal actor world circle))
-                   :background (cond
-                                 (threatened? actor world circle) 
-                                 (plan-fight-or-flight actor world circle)
-                                 (pending-scheduled-action? actor world circle) 
-                                 (plan-scheduled-action actor world circle)
-                                 (empty? (:plans actor)) 
-                                 (plan-goal actor world circle))
-                   ;; else
-                   (cond
-                     (threatened? actor world circle) 
-                     (plan-fight-or-flight actor world circle)
-                     (hungry? actor world circle) 
-                     (plan-find-food actor world circle)
-                     (tired? actor world circle) 
-                     (plan-find-rest actor world circle)
-                     (pending-scheduled-action? actor world circle) 
-                     (plan-scheduled-action actor world circle)
-                     (empty? (:plans actor)) 
-                     (plan-goal actor world circle)))
-          a’ (if urgent
-               (assoc actor :plans (cons urgent (:plans actor)))
-               actor)]
-      (eval ((first (:plans a’)) a’ world)))))
+;;     Note that this implies that a `plan `is a function of three arguments, an
+;;     actor, a world. and a circle.”
+;;     [actor world circle]
+;;     (let [urgent (case circle
+;;                    :other (cond
+;;                             (pending-scheduled-action? actor world circle) 
+;;                             (plan-scheduled-action actor world circle)
+;;                             (empty? (:plans actor)) 
+;;                             (plan-goal actor world circle))
+;;                    :background (cond
+;;                                  (threatened? actor world circle) 
+;;                                  (plan-fight-or-flight actor world circle)
+;;                                  (pending-scheduled-action? actor world circle) 
+;;                                  (plan-scheduled-action actor world circle)
+;;                                  (empty? (:plans actor)) 
+;;                                  (plan-goal actor world circle))
+;;                    ;; else
+;;                    (cond
+;;                      (threatened? actor world circle) 
+;;                      (plan-fight-or-flight actor world circle)
+;;                      (hungry? actor world circle) 
+;;                      (plan-find-food actor world circle)
+;;                      (tired? actor world circle) 
+;;                      (plan-find-rest actor world circle)
+;;                      (pending-scheduled-action? actor world circle) 
+;;                      (plan-scheduled-action actor world circle)
+;;                      (empty? (:plans actor)) 
+;;                      (plan-goal actor world circle)))
+;;           a’ (if urgent
+;;                (assoc actor :plans (cons urgent (:plans actor)))
+;;                actor)]
+;;       (eval ((first (:plans a’)) a’ world)))))

src/cc/journeyman/the_great_game/lore/digester.clj

@@ -1,4 +1,5 @@
 (ns cc.journeyman.the-great-game.lore.digester
-  (:require [org.clojurenlp.core :refer [pos-tag sentenize split-sentences 
-                                         tag-ner tokenize word
-                                         ]]))
+  ;; (:require [org.clojurenlp.core :refer [pos-tag sentenize split-sentences 
+  ;;                                        tag-ner tokenize word
+  ;;                                        ]])
+  )