BS Wiki - User contributions [en]

Guidance: Story Driven Video Game Creation

2021-07-22T03:12:33Z

Bs:

__TOC__

The guidance below was somewhat derived from a great book, "Video Game Storytelling: What Every Developer Needs to Know about Narrative Techniques" by Evan Skolnick. ISBN-10: 0385345828.

== Story Arcs ==
* Story arcs should be layered. Each smaller arc should trace up to the larger parent arc.
* The majority of story arcs should contain conflict. "X wants Y but Z"
* Each story arc should follow a three act structure.
** ACT1, beginning - setup and introduction of conflict
** Plot point 1, end of ACT1 - where the character commits to resolve the conflict
** ACT2, middle - confrontation of the conflict
*** the size of this act should be x2 to x3 the size of ACT1
*** this act is the payoff of ACT1
*** this act sets up the payoff of ACT3
**Plot point 2, end of ACT2 - the character has an idea or decides on how to resolve the conflict, regardless of outcome
** ACT3, end - resolution of the conflict, and the results of that resolution
* Each story arc should build tension, both in story and gameplay
* Ensure the players are engaged within the first few seconds of ACT1

== Character Development ==
* Use a character design document for each character (CDD). Include things like:
*# personality design
*# narrative design
*# concept art
*# final sprites or models
*# animation
*# prominence

* For each story/element, assess what the charater thinks and feels about it

* Characters may go through physical changes as well as personality changes

* Be aware of Archetypes

* The main character should identify with the audience, allowing the player to relate

* Each character should start out incomplete, and grow and change throughout the game
* Each character should show and define opinions, desires, intentions
* Each character should take action, take risk, make sacrifices based on personal stakes such as
** life
** death
** family
** love
** health
** money and material possessions
** power

* Use villain(s) to motivate the main conflict
* Use multiple villains
* ensure that evil and selfish actions are justified by good intentions
* ensure the villain has wants, desires, and plans

* Checklist for each action a villain takes:
** what does the villain want?
** what is their plan for getting it?
** does it align with the overall plan?
** is it believable?
** how does it make them look?
*** smart?
*** stupid?
*** random?

* Each character needs to exist for a reason

* General character arc, top-level questions that need answers
** Where/Who do they start as?
** Where/Who do they become?
** The story bridges the two endpoints mentioned above, driven by change and growth
** Not every character needs to change/grow, but their situation does
** Character arcs should follow a three act structure, just as a story arc does

== Exposition ==
* For each story element, ask if exposition is needed

* Ensure the pace of delivering exposition is slow enough for the player's brain to process it

* Attempt exposition in this order
*# have the player do it
*# show it with music/sfx
*# tell it through dialog or narration

* Sort exposition by importance, and deliver it at the correct time, examples
*# need to know
*# could wait
*# incidental
*# unimportant

* Use some optional manner such as NPC dialog to deliver unimportant exposition
* Ensure that the exposition at a given moment is there to keep the player entertained, not to understand the plot

* Do not deliver exposition all at once, use seeding
* Ensure the seeded exposition has a worthwhile payoff
* When seeding, introduce seed as early and briefly as possible so that it registers with the player, but allows them to forget about it until it comes up later
* Use seeding for story pace and believability
* Seed by starting with a story climax, and then work backwards seeding as you go
* If the story slows or stops for an explanation, consider seeding earlier
* Know the difference between seeding and foreshadowing. Foreshadowing is subtle, cloudy, vague, and less-than helpful

== Believability ==
* Preserve the suspension of belief
* Be consistent with the world and characters
* Use character consistency when getting stuck writing. Ask "What would this character do?" not, "What needs to happen next?"
* When introducing a character, have them heavily display their core traits. Use dialog and action to reinforce this throughout the rest of the story.
* Define motivations and traits for each character
* Use the initial character and who they become as a direction, and for most characters ensure that this change is gradual.

== Coincidence ==
* Identify all coincidences in the story arcs, and handle them by one of the following
*# change the plot, extreme change
*# retrofit it by adding subtle changes to make it less coincidental
*# downplay, by distracting the player

* It is okay to setup a plot point with coincidence. It is not okay to resolve a conflict with coincidence
* Invoking emotions is a way to distract the player from a coincidence
* Bad coincidental examples:
*# benefits the heros and allies
*# hero/allies dumb luck
*# unlikely based on what the player knows
*# has no setup and comes with little or no warning
*# players notice the coincidence
*# doubted, questioned, or mocked by the player

== Surprise ==
* The ending/payoff of a story arc must be inevitable and unexpected
* Give the audience what they want, but not in the way they expected it
* Good surprise is:
*# Player doesn't see it coming
*# extremely unlikely or purely coincidental
*# it was setup beforehand
*# it makes sense afterwards

== Dialogue ==
* It conveys four types of exposition
*# plot
*# character
*# emotion
*# gameplay

* Character dialogue is what a character says and how they say it
* Ensure character constrast through dialog. If an unassigned piece of dialogue is traced back to more than one character, then those characters are too similar.

* What a character says may be influenced by:
*# the current situation
*# their current emotional state
*# the listener's current emotional state
*# current goals
*# characters growth or new information

* Character dialogue is driven by emotion and what they think

* Invoke emotional exposition by indirect dialogue. example "I'm scared" vs. "Don't leave me alone"

* Dialogue should be interesting, entertaining, and natural sounding

== Levels ==
* Use a level design document (LDD).
* Ensure the LDD contains narrative information
* Just as a story is broken up into chapters and acts, gameplay should be broken up into missions and levels
* Does each mission/level align with the overarching tone of the game? The creative aspirations? The functional goals?
* Ask what purpose does each level serve?
* The story/narrative and the mission/level design will impact each other throughout the game
* Write an emotion map for both story/narrative and the mission/level to ensure they are correct

== Environment ==
* Use a environment design document (EDD).
* Layout and architecture should invoke
*# history
*# values
*# culture

* Use aged and broken settings to show what used to exist for the setting

* The EDD should answer
*# What kind of people lived here?
*# What are/were their lives like?
*# How affluent were they?
*# What do/did they love and hate?
*# Do/did they prefer form vs. function?
*# Where they at peace or war when the setting was constructed
*# How densely are/were they populated?
*# How focused are/were they on comfort?
*# what is/was the purpose of the setting?

* Embed writings in the environment
*# graffiti
*# notes
*# letters

* Embed foreshadowing and seeding in the environment. Example: Xenogears - the spaceships turrets turn out to be Fort Jasper

* Embed secret content that isn't needed to understand the story but provides a richer story when consumed by the player

* Use abandoned and uninhabited environments to invoke a sense of mystery. Add calamity to invoke a sense of dread.

* Weave story and narrative clues into the environment

Guidance: Story Driven Video Game Creation

2021-07-22T02:55:22Z

Bs:

__TOC__

{{cite book
| last1 = Cordell | first1 = Bruce R.
| first2 = Jeff | last2 = Grubb
| first3 =David | last3 = Noonan
| title = [[Manual of the Planes]]
| location = Berlin
| publisher = [[Wizards of the Coast]]
| pages = 198–203
| date = September 2001
| isbn = 0-786918-50-0 }}

== Story Arcs ==
* Story arcs should be layered. Each smaller arc should trace up to the larger parent arc.
* The majority of story arcs should contain conflict. "X wants Y but Z"
* Each story arc should follow a three act structure.
** ACT1, beginning - setup and introduction of conflict
** Plot point 1, end of ACT1 - where the character commits to resolve the conflict
** ACT2, middle - confrontation of the conflict
*** the size of this act should be x2 to x3 the size of ACT1
*** this act is the payoff of ACT1
*** this act sets up the payoff of ACT3
**Plot point 2, end of ACT2 - the character has an idea or decides on how to resolve the conflict, regardless of outcome
** ACT3, end - resolution of the conflict, and the results of that resolution
* Each story arc should build tension, both in story and gameplay
* Ensure the players are engaged within the first few seconds of ACT1

== Character Development ==
* Use a character design document for each character (CDD). Include things like:
*# personality design
*# narrative design
*# concept art
*# final sprites or models
*# animation
*# prominence

* For each story/element, assess what the charater thinks and feels about it

* Characters may go through physical changes as well as personality changes

* Be aware of Archetypes

* The main character should identify with the audience, allowing the player to relate

* Each character should start out incomplete, and grow and change throughout the game
* Each character should show and define opinions, desires, intentions
* Each character should take action, take risk, make sacrifices based on personal stakes such as
** life
** death
** family
** love
** health
** money and material possessions
** power

* Use villain(s) to motivate the main conflict
* Use multiple villains
* ensure that evil and selfish actions are justified by good intentions
* ensure the villain has wants, desires, and plans

* Checklist for each action a villain takes:
** what does the villain want?
** what is their plan for getting it?
** does it align with the overall plan?
** is it believable?
** how does it make them look?
*** smart?
*** stupid?
*** random?

* Each character needs to exist for a reason

* General character arc, top-level questions that need answers
** Where/Who do they start as?
** Where/Who do they become?
** The story bridges the two endpoints mentioned above, driven by change and growth
** Not every character needs to change/grow, but their situation does
** Character arcs should follow a three act structure, just as a story arc does

== Exposition ==
* For each story element, ask if exposition is needed

* Ensure the pace of delivering exposition is slow enough for the player's brain to process it

* Attempt exposition in this order
*# have the player do it
*# show it with music/sfx
*# tell it through dialog or narration

* Sort exposition by importance, and deliver it at the correct time, examples
*# need to know
*# could wait
*# incidental
*# unimportant

* Use some optional manner such as NPC dialog to deliver unimportant exposition
* Ensure that the exposition at a given moment is there to keep the player entertained, not to understand the plot

* Do not deliver exposition all at once, use seeding
* Ensure the seeded exposition has a worthwhile payoff
* When seeding, introduce seed as early and briefly as possible so that it registers with the player, but allows them to forget about it until it comes up later
* Use seeding for story pace and believability
* Seed by starting with a story climax, and then work backwards seeding as you go
* If the story slows or stops for an explanation, consider seeding earlier
* Know the difference between seeding and foreshadowing. Foreshadowing is subtle, cloudy, vague, and less-than helpful

== Believability ==
* Preserve the suspension of belief
* Be consistent with the world and characters
* Use character consistency when getting stuck writing. Ask "What would this character do?" not, "What needs to happen next?"
* When introducing a character, have them heavily display their core traits. Use dialog and action to reinforce this throughout the rest of the story.
* Define motivations and traits for each character
* Use the initial character and who they become as a direction, and for most characters ensure that this change is gradual.

== Coincidence ==
* Identify all coincidences in the story arcs, and handle them by one of the following
*# change the plot, extreme change
*# retrofit it by adding subtle changes to make it less coincidental
*# downplay, by distracting the player

* It is okay to setup a plot point with coincidence. It is not okay to resolve a conflict with coincidence
* Invoking emotions is a way to distract the player from a coincidence
* Bad coincidental examples:
*# benefits the heros and allies
*# hero/allies dumb luck
*# unlikely based on what the player knows
*# has no setup and comes with little or no warning
*# players notice the coincidence
*# doubted, questioned, or mocked by the player

== Surprise ==
* The ending/payoff of a story arc must be inevitable and unexpected
* Give the audience what they want, but not in the way they expected it
* Good surprise is:
*# Player doesn't see it coming
*# extremely unlikely or purely coincidental
*# it was setup beforehand
*# it makes sense afterwards

== Dialogue ==
* It conveys four types of exposition
*# plot
*# character
*# emotion
*# gameplay

* Character dialogue is what a character says and how they say it
* Ensure character constrast through dialog. If an unassigned piece of dialogue is traced back to more than one character, then those characters are too similar.

* What a character says may be influenced by:
*# the current situation
*# their current emotional state
*# the listener's current emotional state
*# current goals
*# characters growth or new information

* Character dialogue is driven by emotion and what they think

* Invoke emotional exposition by indirect dialogue. example "I'm scared" vs. "Don't leave me alone"

* Dialogue should be interesting, entertaining, and natural sounding

== Levels ==
* Use a level design document (LDD).
* Ensure the LDD contains narrative information
* Just as a story is broken up into chapters and acts, gameplay should be broken up into missions and levels
* Does each mission/level align with the overarching tone of the game? The creative aspirations? The functional goals?
* Ask what purpose does each level serve?
* The story/narrative and the mission/level design will impact each other throughout the game
* Write an emotion map for both story/narrative and the mission/level to ensure they are correct

== Environment ==
* Use a environment design document (EDD).
* Layout and architecture should invoke
*# history
*# values
*# culture

* Use aged and broken settings to show what used to exist for the setting

* The EDD should answer
*# What kind of people lived here?
*# What are/were their lives like?
*# How affluent were they?
*# What do/did they love and hate?
*# Do/did they prefer form vs. function?
*# Where they at peace or war when the setting was constructed
*# How densely are/were they populated?
*# How focused are/were they on comfort?
*# what is/was the purpose of the setting?

* Embed writings in the environment
*# graffiti
*# notes
*# letters

* Embed foreshadowing and seeding in the environment. Example: Xenogears - the spaceships turrets turn out to be Fort Jasper

* Embed secret content that isn't needed to understand the story but provides a richer story when consumed by the player

* Use abandoned and uninhabited environments to invoke a sense of mystery. Add calamity to invoke a sense of dread.

* Weave story and narrative clues into the environment

Guidance: Story Driven Video Game Creation

2021-07-21T03:05:24Z

Bs:

__TOC__

== Story Arcs ==
* Story arcs should be layered. Each smaller arc should trace up to the larger parent arc.
* The majority of story arcs should contain conflict. "X wants Y but Z"
* Each story arc should follow a three act structure.
** ACT1, beginning - setup and introduction of conflict
** Plot point 1, end of ACT1 - where the character commits to resolve the conflict
** ACT2, middle - confrontation of the conflict
*** the size of this act should be x2 to x3 the size of ACT1
*** this act is the payoff of ACT1
*** this act sets up the payoff of ACT3
**Plot point 2, end of ACT2 - the character has an idea or decides on how to resolve the conflict, regardless of outcome
** ACT3, end - resolution of the conflict, and the results of that resolution
* Each story arc should build tension, both in story and gameplay
* Ensure the players are engaged within the first few seconds of ACT1

== Character Development ==
* Use a character design document for each character (CDD). Include things like:
*# personality design
*# narrative design
*# concept art
*# final sprites or models
*# animation
*# prominence

* For each story/element, assess what the charater thinks and feels about it

* Characters may go through physical changes as well as personality changes

* Be aware of Archetypes

* The main character should identify with the audience, allowing the player to relate

* Each character should start out incomplete, and grow and change throughout the game
* Each character should show and define opinions, desires, intentions
* Each character should take action, take risk, make sacrifices based on personal stakes such as
** life
** death
** family
** love
** health
** money and material possessions
** power

* Use villain(s) to motivate the main conflict
* Use multiple villains
* ensure that evil and selfish actions are justified by good intentions
* ensure the villain has wants, desires, and plans

* Checklist for each action a villain takes:
** what does the villain want?
** what is their plan for getting it?
** does it align with the overall plan?
** is it believable?
** how does it make them look?
*** smart?
*** stupid?
*** random?

* Each character needs to exist for a reason

* General character arc, top-level questions that need answers
** Where/Who do they start as?
** Where/Who do they become?
** The story bridges the two endpoints mentioned above, driven by change and growth
** Not every character needs to change/grow, but their situation does
** Character arcs should follow a three act structure, just as a story arc does

== Exposition ==
* For each story element, ask if exposition is needed

* Ensure the pace of delivering exposition is slow enough for the player's brain to process it

* Attempt exposition in this order
*# have the player do it
*# show it with music/sfx
*# tell it through dialog or narration

* Sort exposition by importance, and deliver it at the correct time, examples
*# need to know
*# could wait
*# incidental
*# unimportant

* Use some optional manner such as NPC dialog to deliver unimportant exposition
* Ensure that the exposition at a given moment is there to keep the player entertained, not to understand the plot

* Do not deliver exposition all at once, use seeding
* Ensure the seeded exposition has a worthwhile payoff
* When seeding, introduce seed as early and briefly as possible so that it registers with the player, but allows them to forget about it until it comes up later
* Use seeding for story pace and believability
* Seed by starting with a story climax, and then work backwards seeding as you go
* If the story slows or stops for an explanation, consider seeding earlier
* Know the difference between seeding and foreshadowing. Foreshadowing is subtle, cloudy, vague, and less-than helpful

== Believability ==
* Preserve the suspension of belief
* Be consistent with the world and characters
* Use character consistency when getting stuck writing. Ask "What would this character do?" not, "What needs to happen next?"
* When introducing a character, have them heavily display their core traits. Use dialog and action to reinforce this throughout the rest of the story.
* Define motivations and traits for each character
* Use the initial character and who they become as a direction, and for most characters ensure that this change is gradual.

== Coincidence ==
* Identify all coincidences in the story arcs, and handle them by one of the following
*# change the plot, extreme change
*# retrofit it by adding subtle changes to make it less coincidental
*# downplay, by distracting the player

* It is okay to setup a plot point with coincidence. It is not okay to resolve a conflict with coincidence
* Invoking emotions is a way to distract the player from a coincidence
* Bad coincidental examples:
*# benefits the heros and allies
*# hero/allies dumb luck
*# unlikely based on what the player knows
*# has no setup and comes with little or no warning
*# players notice the coincidence
*# doubted, questioned, or mocked by the player

== Surprise ==
* The ending/payoff of a story arc must be inevitable and unexpected
* Give the audience what they want, but not in the way they expected it
* Good surprise is:
*# Player doesn't see it coming
*# extremely unlikely or purely coincidental
*# it was setup beforehand
*# it makes sense afterwards

== Dialogue ==
* It conveys four types of exposition
*# plot
*# character
*# emotion
*# gameplay

* Character dialogue is what a character says and how they say it
* Ensure character constrast through dialog. If an unassigned piece of dialogue is traced back to more than one character, then those characters are too similar.

* What a character says may be influenced by:
*# the current situation
*# their current emotional state
*# the listener's current emotional state
*# current goals
*# characters growth or new information

* Character dialogue is driven by emotion and what they think

* Invoke emotional exposition by indirect dialogue. example "I'm scared" vs. "Don't leave me alone"

* Dialogue should be interesting, entertaining, and natural sounding

== Levels ==
* Use a level design document (LDD).
* Ensure the LDD contains narrative information
* Just as a story is broken up into chapters and acts, gameplay should be broken up into missions and levels
* Does each mission/level align with the overarching tone of the game? The creative aspirations? The functional goals?
* Ask what purpose does each level serve?
* The story/narrative and the mission/level design will impact each other throughout the game
* Write an emotion map for both story/narrative and the mission/level to ensure they are correct

== Environment ==
* Use a environment design document (EDD).
* Layout and architecture should invoke
*# history
*# values
*# culture

* Use aged and broken settings to show what used to exist for the setting

* The EDD should answer
*# What kind of people lived here?
*# What are/were their lives like?
*# How affluent were they?
*# What do/did they love and hate?
*# Do/did they prefer form vs. function?
*# Where they at peace or war when the setting was constructed
*# How densely are/were they populated?
*# How focused are/were they on comfort?
*# what is/was the purpose of the setting?

* Embed writings in the environment
*# graffiti
*# notes
*# letters

* Embed foreshadowing and seeding in the environment. Example: Xenogears - the spaceships turrets turn out to be Fort Jasper

* Embed secret content that isn't needed to understand the story but provides a richer story when consumed by the player

* Use abandoned and uninhabited environments to invoke a sense of mystery. Add calamity to invoke a sense of dread.

* Weave story and narrative clues into the environment

2021-06-01T02:08:51Z

Bs:

__TOC__

:See [[Linux: Compiling and Installing Source Code from the Terminal]] for compiling and installing.

== Ubuntu (Hirsute) ==
# Update/enable the source package URLs. Note that in Ubuntu, these should already be in the sources.list file and just need to be uncommented. i.e. remove the "#" from the deb-src lines.
#:::<code>sudo gedit /etc/apt/sources.list</code>
#::An example line might look like this:
#:::<code>deb-src <nowiki>http://us.archive.ubuntu.com/ubuntu/</nowiki> hirsute main restricted</code>
# Update the new package information that was added in step 1.
#:::<code>sudo apt-get update</code>
# Navigate to the directory that the source code will reside in, and download it.
#::Example for downloading the source code for the grep utility
#:::<code>sudo apt-get source grep</code>
#::Example for downloading the source code for bash
#:::<code>sudo apt-get source bash</code>
# There should be a directory with the source code along with some other files. Move to the new directory to view the downloaded source code.
#:::If the directory doesn't exist, run this command on the .dsc file acquired from step 3 above:
#::::<code>dpkg-source -x yourfile.dsc</code>
#:::If you get an error message that dpkg-source can not be found, install the package:
#::::<code>sudo apt install dpkg-dev</code>

== Mint 20.1 Cinnamon ==
# Bring up the Software Sources
#:::Menu Button -> Administration -> Software Sources
# Toggle the "Source code repositories" button to enabled state, under Optional Sources
# Press the OK button
# Navigate to the directory that the source code will reside in, and download it.
#::Example for downloading the source code for the grep utility
#:::<code>sudo apt-get source grep</code>
#::Example for downloading the source code for bash
#:::<code>sudo apt-get source bash</code>
# There should be a directory with the source code along with some other files. Move to the new directory to view the downloaded source code.
#:::If the directory doesn't exist, run this command on the .dsc file acquired from step 4 above:
#::::<code>dpkg-source -x yourfile.dsc</code>
#:::If you get an error message that dpkg-source can not be found, install the package:
#::::<code>sudo apt install dpkg-dev</code>

== Fedora 34 ==
# Install the rpm dev tools
#:::<code>dnf install rpm-build redhat-rpm-config rpmdevtools</code>
# Download the source code, if this works you will see a new file, packagename.src.rpm
#:::<code>dnf download --source packagename</code>
# Setup the tree, install the packagename.src.rpm
#:::<code>rpmdev-setuptree</code>
#:::<code>rpm -ivh mousepad-0.4.1-1.fc28.src.rpm</code>
# Navigate to the home directory, note there should be a new directory named rpmbuild
# (optional) look at the tree
#:::<code>tree rpmbuild</code>
# Go to the SOURCES directory located in the rpmbuild directory
# untar the source code
#:: Example 1
#:::<code>tar xjf packagename.tar.bz2 -C src</code>
#:: Example 2
#:::<code>tar -xf packagename.tar.gz</code>
# There should now be a directory with the source code

== openSUSE Tumbleweed ==
# If the source repo was not enabled when openSUSE was installed, enable it.
#:: List all of the repos and look for the sources repo
#:::<code>zypper repos</code>
#:: Assuming the sources repo is named "repo-source", enable it
#:::<code>sudo zypper modifyrepo -er 'repo-source'</code>
# Install the source, "bash" in this example
#:::<code>sudo zypper source-install bash</code>
# Navigate to /usr/src/packages/SOURCES/ and find a tar of the packages source code
# Copy the tar'd file to the desired location and untar it
#:::<code>tar -xf packagename.tar.gz</code>
# Find a directory of the source code wherever it was untar'd

2021-05-27T20:51:09Z

Bs:

Linux: Acquiring Source Code

2021-05-27T20:44:58Z

Bs:

2021-05-27T20:06:21Z

Bs:

== Acquiring Source Code in Ubuntu (Hirsute) ==

# Update/enable the source package URLs. Note that in Ubuntu, these should already be in the sources.list file and just need to be uncommented. i.e. remove the "#" from the deb-src lines.
#:::<code>sudo gedit /etc/apt/sources.list</code>
#::An example line might look like this:
#:::<code>deb-src <nowiki>http://us.archive.ubuntu.com/ubuntu/</nowiki> hirsute main restricted</code>
# Update the new package information that was added in step 1.
#:::<code>sudo apt-get update</code>
# Navigate to the directory that the source code will reside in, and download it.
#::Example for downloading the source code for the grep utility
#:::<code>sudo apt-get source grep</code>
#::Example for downloading the source code for bash
#:::<code>sudo apt-get source bash</code>
# There should be a directory with the source code along with some other files. Move to the new directory to view the downloaded source code.
#:::If the directory doesn't exist, run this command on the .dsc file acquired from step 4 above:
#::::<code>dpkg-source -x yourfile.dsc</code>
#:::If you get an error message that dpkg-source can not be found, install the package:
#::::<code>sudo apt install dpkg-dev</code>

See [[Linux: Compiling and Installing Source Code from the Terminal]] for compiling and installing.

== Acquiring Source Code in Mint 20.1 Cinnamon ==
# Bring up the Software Sources
#:::Menu Button -> Administration -> Software Sources
# Toggle the "Source code repositories" button to enabled state, under Optional Sources
# Press the OK button
# Navigate to the directory that the source code will reside in, and download it.
#::Example for downloading the source code for the grep utility
#:::<code>sudo apt-get source grep</code>
#::Example for downloading the source code for bash
#:::<code>sudo apt-get source bash</code>