How the game works inside — and why it works that way.
A world in Grimhold can now declare not only what happens in it but what exists in it at all — its era, its money, its gear, its classes and its names. And you can build one from a browser without writing a line of code.
In a desert campaign, a sand scorpion came out as a man in rags with claws bolted on. One field was answering two different questions — and the measurement that explained everything turned out not to generalise.
A finished chapter can now be turned into a comic. The obvious way to make it richer is to feed the model the full play log instead of a short summary. We tried it — we got more pages, and a worse comic.
The game now speaks three languages. The hard part was never the text: those Russian strings were not presentation, they were the keys the game's own rules resolved through.
A character had two two-handed swords in his bag, and the game would not let him pick up either one. A look at how two rules, each sensible on its own, together locked away an item nobody could use.
A player chose the mode where death is final, spent five turns in a row trying to die — and stayed alive. Why the Master would not kill him, and how the decision was taken away from it in the end.
The game gained ambient sound. The hard part turned out not to be playback but a simple question: how do you tell something foreign in a recording from the thing the recording was made for?
Two bugs in how the Master creates new characters turned up in one evening. They were fixed the same way, and the interesting part was not the prohibition but the question of where to send the refusal.
The game believed the smith was standing next to the hero. The smith was at his forge on the other side of the village. Why that happened — and why the cause turned out not to be the logic.
rimhold