Here's another approach to the problem of deal evaluation: what if we set aside a special variable called "DealValueIn" and another one called "DealValueOut". These two variables default to zero, but the storybuilder can always set them to some other value. This variable establishes the value of this action if it were taken as part of a deal. Then, when a deal is proposed, the character need only evaluate that one variable. We can make the search process faster if we define one of the keys as representing deals, then use that key as a quick way to identify verbs that should be searched for deal values.
Thus, when a character is attempting to evaluate a deal, he consults the verb in VerbObject, looks up its two DealValue assignments, and moves those over to the macro buffer, where they are evaluated and the return value is returned by the function. Thus, a typical weighting equation might read like this:
Weight[OfferDeal] <=( (Trust[Actor, Subject] * DealValueIn(VerbObject1)) &endash;
DealValueOut(VerbObject2))
This could work. But more issues arise. First, how are deals created, and second, how are various deals specified within a consequence set? Indeed, what does the entire deal-sequence look like? It has to start with a desire for something. Fred needs something; he doesn't have it, but Marla can help. So Fred knows what he wants from Marla, but now he must figure out what he can offer her that she is likely to accept. This is the first tricky step. He can readily figure the value that Marla will want in return for her service; but what can he offer in return? Of course! He sweeps through all possible deals, calculating the minimum required to satisfy Marla, and then measures his own DealValueOut; he selects the option with the lowest DealValueOut.
Oops, this has to be a two-dimensional search; Fred has to look over all characters who might provide the service.
OK, how does this work for the protagonist? He has to resort to a verb that finds the best deal, then returns that as a menu option. Fair enough, but what about the protagonist on the receiving end of the deal? There's only one way: the storybuilder must defined the protagonist's personality values so that characters can make reasonable offers. Thus, if the protagonist is defined to be greedy, people will offer money for deals; if instead the protagonist is defined to be horny, then women will offer their bodies.
This could work.