Added ideas about scheduling daily behaviour.

All tests currently pass, but that's at least partly because a lot of the new code doesn't yet have tests.

doc/Dynamic-consequences.md

@@ -4,7 +4,7 @@ First, a framing disclaimer: in [Racundra's First Cruise](https://books.google.c
 
 I will never build a complete version of The Great Game; it will probably never even be a playable prototype. It is a minor side-project of someone who
 
-1. Is ill, and consequently has inconsistent levels of energy and concentration;
+1. Is old and ill, and consequently has inconsistent levels of energy and concentration;
 2. Has other things to do in the real world which necessarily take precedence.
 
 Nevertheless, in making design choices I want to specify something which could be built, which could, except for the technical innovations I'm trying myself to build, be built with the existing state of the art, and which if built, would be engaging and interesting to play.
@@ -35,6 +35,8 @@ This doesn't mean that speech acts by non-player characters which make plot poin
 
 Modern Role Playing Games are, in effect, extremely complex state machines: if you do the same things in the same sequence, the same outcomes will always occur. In a world full of monsters, bandits, warring armies and other dangers, the same quest givers will be in the same places at the same times. They are clockwork worlds, filled with clockwork automata. Of course, this has the advantage that is makes testing easier - and in a game with a complex branching narrative and many quests, testing is inevitably hard.
 
+Interestingly, [Kenshi](https://lofigames.com/) — a game I'm increasingly impressed and influenced by — is not quite clockwork in this sense. As the player upsets the equilibrium of the game's political economy, factions not impacted negatively will move against competing factions which are impacted negatively, in a way which *may* be scripted, but it's so well done it's hard to tell.
+
 My vision for The Great Game is different. It is that the economy - and with it, the day to day choices of non-player characters - should be modelled. This means, non-player characters may unexpectedly die. Of course, you could implement a tag for plot-relevant characters which prevents them being killed (except when required by the plot).
 
 ## Plot follows player
@@ -45,15 +47,15 @@ Another solution - which I'd like to explore - is 'plot follows character'. The
 
 ## Cut scenes, cinematics and rewarding the player
 
-There's no doubt at all that 'cut scenes' - in effect, short movies spliced into game play during which the player has no decisions to make but can simply watch the scene unroll - are elements of modern games which players enjoy, and see to some extent as 'rewards'. And in many games, these are beautifully constructed works. It is a very widely held view that the quality of cutscenes depends to a large degree on human authorship. The three choices I've made above:
+There's no doubt at all that 'cut scenes' - in effect, short movies spliced into game play during which the player has no decisions to make but can simply watch the scene unroll - are elements of modern games which players enjoy, and see to some extent as 'rewards'. And in many games, these are beautifully constructed works. It is a very widely held view that the quality of cutscenes depends to a large degree on human authorship. The choices I've made above:
 
 1. We can't always know exactly what non-player characters will say (although perhaps we can in the context of cut scenes where the player has no input);
 2. We can't always know exactly which non-player characters will speak the lines;
 3. We can't predict what a non-player character will say in response to a question, or how long that will take;
-4. We can't always know where any particular plot event will take place.
+4. We can't always know where any particular plot event will take place;
 
-Each of these, obviously, make the task of authoring an animation harder. The general summary of what I'm saying here is that, although in animating a conversation or cutscene what the animator is essentially animating is the skeletons of the characters, and, provided that all character models are rigged on essentially similar skeletons, substituting one character model for another in an animated scene isn't a huge issue, with so much unknowable it is impossible that hand-authoring will be practicable, and so a lot will depend on the quality of the conversation system not merely to to produce convincingly enunciated and emoted sound, but also appropriate character animation and attractive cinematography. As you will have learned from the Mass Effect analysis videos I linked to above, that's a big ask.
+each, make the task of authoring an animation harder. The general summary of what I'm saying here is that, although in animating a conversation or cutscene what the animator is essentially animating is the skeletons of the characters, and, provided that all character models are rigged on essentially similar skeletons, substituting one character model for another in an animated scene isn't a huge issue, with so much unknowable it is impossible that hand-authoring will be practicable, and so a lot will depend on the quality of the conversation system not merely to to produce convincingly enunciated and emoted sound, but also appropriate character animation and attractive cinematography. As you will have learned from the Mass Effect analysis videos I linked to above, that's a big ask.
 
 Essentially the gamble here is that players will find the much richer conversations, and consequent emergent gameplay, possible with non-player charcaters who have dynamic knowledge about their world sufficiently engaging to compensate for a less compelling cinematic experience. I believe that they would; but really the only way to find out would be to try.
 
-Interestingly, an [early preview](https://youtu.be/VwwZx5t5MIc?t=327) of CD PRoject Red's not-yet-complete [Cyberpunk 2077](https://www.cyberpunk.net/us/en/cyberpunk-2077) suggests that there will be very, very few cutscenes, suggesting that these very experienced storytellers don't feel they need cutscenes either to tell their story or maintain player engagement.
+Interestingly, an [early preview](https://youtu.be/VwwZx5t5MIc?t=327) of CD Project Red's [Cyberpunk 2077](https://www.cyberpunk.net/us/en/cyberpunk-2077) has relatively few cutscenes, suggesting that these very experienced storytellers don't feel they need cutscenes either to tell their story or maintain player engagement.