A couple of weeks ago I spoke with Leigh Alexander over at Gamasutra about interactive fiction and related genres, including some of the work I’m now doing as a day job. The results can be seen in this article about the idea of a text renaissance.
Author: emshortif
Endless, Nameless by Adam Cadre
Endless, Nameless is Adam Cadre’s latest game. The surrounding text claims that it’s the relic of the bulletin board age, but anyone familiar with Adam’s oeuvre won’t be surprised to know there’s a bit more to it than a retro remake. There’s no way to write a substantive review without addressing the ways in which it takes a twist, though; it’s worth playing enough to find out just exactly how it’s going to be not what you think. So please consider giving it a try before reading on.
Hap Aziz and Colonial Williamsburg
Hap Aziz, a doctoral researcher in the use of interactive fiction for education, is creating an educational game about Colonial Williamsburg. The Historical Williamsburg Living Narrative is currently gathering funding through Kickstarter.
Hap was good enough to talk to me about his approach to the educational aspects of the project: why he chose this particular period, the teaching aims of the game, how it relates to other IF he’s encountered, and his wishlist of IF tools for educational gaming.
Frankenstein, by Dave Morris with inkle studios
Frankenstein, written by Dave Morris and implemented by inkle studios, is an iPad app retelling Mary Shelley’s original tale in a new interactive format.
Morris’ Frankenstein follows the essential plot of Shelley’s, with a couple of key deviations. Victor Frankenstein’s experiments take place in revolutionary Paris rather than at the university of Ingolstadt; the narrative frame of the original story is peeled off, so that it no longer begins with Frankenstein meeting a shipful of adventurers in the north Atlantic, and the meeting on the ice occurs only at the end.
Removing the frame gives the story a certain immediacy. Victor’s experiments are told in the present and the horror of them is more directly present than they would have been via flashback; and flashback is notoriously tricky in interactive narrative because it often makes the reader question how she can possibly be affecting events that are, from the point of view of the frame narrative, already in the past.
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GDC 2012 Talk on Dynamic Dialogue
One of the more interesting GDC talks I saw was a Friday afternoon presentation by Elan Ruskin, talking about how dialogue snippets are matched to a continually changing world state in Left 4 Dead 2 and other Valve games.
It’s a neat rule-based system, designed to meet a couple of specific important requirements: easy for the writers to author a lot of content, responsive to a wide variety of different situations (what if we want a character to have a special quip if attacked while in the circus environment as opposed to elsewhere?), interruptible (characters should be able to exchange quips, but should sensibly break off if one of them comes under attack). Like Inform, it prioritizes rules and applies the most specific one it can find, using less-specific ones as fall-backs.
The resulting system is very well tuned to the specific case of having NPC dialogue that’s highly reactive. Characters aren’t planning or trying to achieve goals via dialogue, but they present a strong illusion of situational awareness, which is what those games require. (And there’s often a place for purely reactive NPC quips in IF, too.)
The talk also goes over a number of optimization strategies for speeding the lookup on these sorts of tasks, and argues for the importance of making tools that writers find comfortable to use. Solid stuff, both technically and in terms of project planning.
Elan has posted the slides and video here.
(Bonus: there’s a shout-out to Inform in the middle.)
Storydeck: Steampunk and Ella
Storydeck is a system by Ian Millington and Emily Bembeneck, using the concept of Doodle God as a mechanism for storytelling. You play by accumulating story elements and combining them to unlock new storylet events, which in turn give you new elements to combine. In Doodle God those elements were things like “fire” and “water” combining to make a “steam” element; in Storydeck elements are instead characters, locations, artifacts, and so on. There are two Storydecks in current release, a Steampunk deck about a clockwork Victorian mystery and an Ella deck that appears to be a recasting of Cinderella. They’re prettily-made things, too, with evocative, mysterious illustrations for each of the story element cards.
This sounds great. I enjoyed Doodle God. I’ve enjoyed other games that were to some extent about combining narrative elements in inventive ways, often using some kind of card mechanism: Once Upon A Time
But the Storydeck games aren’t really clicking for me as interactive experiences, and the reason is — paradoxically — that they’re not generic enough.
Emily Short's Interactive Storytelling 