The Yellow Bowl (Judy Malloy) and Hypertexts of Juxtaposition

The Yellow Bowl is a piece of 1990s hypertext recently rebuilt for the web. Its paradigm of several narrative tracks that we can pursue simultaneously sets it apart from most (but not all) narrative IF.

A screenshot from the reimplementation of The Yellow Bowl by Judy Malloy.
Using the arrow at the top center, the reader may advance the central narrative; the many colored arrows, left and right, advance the adjacent narratives in different ways. The reader has information about the relative primacy of the pieces we’re reading, but little about their content or theme.

Judy Malloy’s The Yellow Bowl is a very early hypertext, originally written in BASIC in 1992, and then a few years ago converted to be accessible on the modern web. In her introduction to the new version, she writes

Welcome to the transmediation — from BASIC to JavaScript in an HTML/CSS environment — of The Yellow Bowl. Originally containing approximately 800 lexias, The Yellow Bowl was first presented at “Hypertext, Hypermedia: Defining a Fictional Form”, a 1992 MLA panel, chaired by Terry Harpold, where I said:

“In my narrabase, The Yellow Bowl, the contrast between the narrator’s ‘true’ memories and the ways she distorts them to shape the story places the reader on the uneasy ground between the narrator and the narrative.”

The piece features three narratives: a main storyline about the protagonist Grace, filling the center of the screen, and then two adjacent narratives, which are speculative fiction/fantasy stories that she is making up about two different women who are trying to escape oppressive environments. All three narratives contain a fair amount of domestic detail, of the preparation of meals and the mundane texture of daily life. In the end, the side narratives will end with the two fictional characters meeting.

The reader may advance any of these three narratives at any time, changing which lexia sit next to which; there’s some basic text animation applied to the left and right text streams, so that they flow into place rather than just appearing. There are also a few clips of sound, passages from the text read aloud.

All of these elements feel very much of 1992 — not because it is unfathomable to have animated text effects now, and indeed inkle have been very eloquent about the value of this kind of technique — but because the implementation emphasizes the computer-nature of the text as though that were a novelty, while doing nothing to ease the human process of reading it. The letters dance up the screen, making you lose your place if you try to read before they have finally settled.

Reading this text, I immediately feel a kind of discomfort I’ve come to recognize. When text is presented to me this densely on a page, and there are this many affordances for things to do, it makes me anxious that I will not be able to read it thoroughly.

Even a printed book can have this effect on me, if there are too many sidebars, and especially the parallel texts run together longer than a page or two. S. caused a bit of it, until I came up with a strategy. Curiously, I usually don’t have this same issue with densely-footnoted books, because the footnote enumerations do suggest a clear reading strategy and promise me a way back into the main text when I am done.

In considering ways to read this work, I found myself considering other juxtaposed or parallel-track pieces I might have encountered before.

Continue reading “The Yellow Bowl (Judy Malloy) and Hypertexts of Juxtaposition”

The Cambridge Introduction to Narrative (H. Porter Abbott) – Chapters 7-9

cambridgeIntroToNarrative

The Cambridge Introduction to Narrative approaches stories from a very different perspective than most of the game writing, novel writing, and screenplay writing books I’ve covered here before; instead, it’s an academic approach to describing what narrative is, based in the field of narratology.

Last month I looked at the first six chapters; now I’m returning to it. As before, I generally found myself reading this overview with an eye to how interactive media tend to compare, since Abbott only examines hypertext to a limited degree, and other interactive narrative very little at all.

Continue reading “The Cambridge Introduction to Narrative (H. Porter Abbott) – Chapters 7-9”

Links and Structures from Michael Joyce to Twine

A look at some articles from the scholarship of literary hypertext, and thoughts about how their concerns and terms relate to current work in Twine and other procedural literature.

Recently I’ve been including some coverage here of academic materials that might be of interest to industry or hobbyist readers. Some of that’s been focused on recent work in story generation or interactive narrative in some way.

Today’s example, by contrast, begins with a reading from a rather older paper: A Nonce Upon Some Times, by Michael Joyce in 1997. (If you want a proper citation: Modern Fiction Studies 43.3 (1997) 579-597.)

This article came to my attention because when I was responding to Mark Bernstein’s piece The Fellow Who Caught Fire, he called out that I was unfamiliar with something he considers to be essential reading in the field of literary hypertext.

“A Nonce Upon Some Times” raises questions about how we categorize hypertext structures, and what we understand from the meaning of these structures. Occasionally this is reminiscent of Sam Kabo Ashwell’s work or perhaps my own on small-scale structures in CYOA: what does it communicate when the author chooses a particular relationship between the available lexia?

Joyce, however, is overtly contemptuous of branching narrative:

The workshop exercise with which I began this essay seeks to isolate a set of primitive choices that both prompt the visual kinetic of rereading in hypertext and, at the same time, isolate the elements of what Douglas calls “a narrative of possibilities.”… It engages working writers with aesthetic and readerly questions about linking rather than encouraging a choose-your-own-adventure sort of drearily branching fiction.

…and what interests him is not the question of how one might project oneself into the role of a protagonist; not how one might experience agency, constraint, or non-agency through this pattern of links.

Joyce’s taxonomy is easier to diagram than to explain in words. He proposes that one start with a four part structure, linked linearly, which ends by going back to one of the earlier texts. I would diagram it like this:

Now: what happens next, after we have re-entered the second of the four texts? Where do we go from there, and is it different from where we might have gone the first time around, and what do these different arrangements mean?

Continue reading “Links and Structures from Michael Joyce to Twine”

The Cambridge Introduction to Narrative (H. Porter Abbott) – Chapters 1-6

cambridgeIntroToNarrative.jpg

The Cambridge Introduction to Narrative approaches stories from a very different perspective than most of the game writing, novel writing, and screenplay writing books I’ve covered here before; instead, it’s an academic approach to describing what narrative is, based in the field of narratology.

I’m covering this one in some depth, because I think it’s interesting to compare the terminology it uses with the terms common in other types of writing and game writing and interactive fiction guidance. So this post will cover the first portion of the book, and I’ll cover (roughly) the second half next month.

Chapter 1, Narrative and Life, speaks to the idea that narrative is a fundamental human function, that we possibly can’t even form memories without making stories about the events that happened to us, and that we have an instinct to try to work out the history or past narrative of things when we encounter them. Abbott ends this section with a few paintings that challenge us to understand them narratively but also resist casual interpretation.

Among other things, the chapter rather inverts the idea of environmental storytelling as a technique by suggesting that we are constantly making up stories about our environments, and that any space we might enter in a game would be read in this way by players, whether we wanted that or not.

Continue reading “The Cambridge Introduction to Narrative (H. Porter Abbott) – Chapters 1-6”

Curating Simulated Storyworlds (James Ryan) – Ch 6f

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This is the third of several posts about James Ryan’s dissertation, Curating Simulated Storyworlds. We are now reading chapters 6 and following, in which Ryan describes his own projects in the curated emergent narrative space.

After the first five chapters, this piece becomes considerably more narrative in its own structure: Ryan is (consciously) telling the story of his own artistic development and practice, and the particular works to which it gave rise.

Continue reading “Curating Simulated Storyworlds (James Ryan) – Ch 6f”

Curating Simulated Storyworlds (James Ryan) – Ch 4-5

This is the second of several posts about James Ryan’s dissertation, Curating Simulated Storyworlds. The previous post looked at chapters 1-3, which set out the concept of the dissertation and documented the pleasures of emergent narrative.

Here I read Chapter 4, concerned with the pain of emergent narrative, including critiques from other scholars and projects in emergent narrative that have failed; and Chapter 5, in which he presents his argument for curationist emergent narrative.

The major issues Ryan identifies with simulations are:

Boringness. Some simulations are simulating events that aren’t that engaging, and therefore they will never have the range to compel readers. (Something I was wondering about while reading chapters 1-3.)

Granularity extremes. The system is operating on either too large or too small a scale. As an example, Ryan showcases the system that controls how drinks may be taken in the Saga II story generation system, with an arguably excessive focus on moving objects from hand to hand.

  • As a side note: this is a granularity of state that most text adventure games wouldn’t bother with. There are some exceptions, though a few of the most granular works I know of were also never finished: for many years NK Guy worked on a game code-named Hamsterworld, which attended to player clothes and body parts (and many other systems) with great precision; of Gunther Schmidl’s And the Waves Choke the Wind, only a first few scenes were ever released. TADS 3’s library supports more in this range than any other text adventure world model I’m aware of, and handles some of the related challenges around making small actions implicit when they aren’t individually very interesting, so that at its best, the granularity of the world model becomes invisible except when there is something down in those details that really does interfere in the player’s intended action, at which point the consequence is reported. Return to Ditch Day remains one of the best examples of this kind of work, and Eric Eve’s work is also exemplary here.

Lack of modularity. The idea here is that elements of the simulation must be small and reusable; otherwise, it isn’t possible to recombine them in interesting ways. To illustrate this issue, Ryan looks at Sheldon Klein’s murder mystery generator, an example I haven’t seen written up particularly often (though perhaps I’ve been looking in the wrong places).

Lack of abstraction. Here, Ryan argues for the value of simulators that can cast different characters in different spaces and situations, rather than retelling (possibly different) stories about the same set of characters and events, since if we have a large number of stories about different characters, the appeal of the vast and the appeal of the ephemeral are preserved. (These are key features of the aesthetic of emergent narrative, as Ryan lays these out in earlier chapters.)

I am not sure what I think about this one. I will grant that the repetition of the same characters can give a kind of sameyness to story generators — though some systems, from Fallen London to Rafael Pérez y Pérez‘ Mexica, refer to characters by title or function in order to avoid the concrete effect of granting them a name.

Modeling gaps. This refers to places where it seems the simulation ought to cover some possibility or set of actions, based on what else is modeled, but for some reason certain elements are omitted.

Causality issues. Here Ryan describes how simulation causality can be too diffuse to make for good storytelling, especially in systems that rely on utility scoring where many different aspects of world state could all be considered to partially explain a particular outcome. (He gives a detailed example based on trying to interpret consequence in Prom Week, which is especially valuable here.) Though I’ve encountered this phenomenon, I haven’t seen the problem labeled or analyzed in depth before.

The solution Ryan proposes — contingent unlocking, where some events explicitly are made possibly by a finite set of prior conditions, and causal bookkeeping, where the system somewhere records how a particular outcome has been made available — will apparently come back in later chapters when he talks about his own work.

It’s a method we also used to some degree in Versu, where characters could record a string that represented why they’d adopted a particular attitude towards the player; and for that matter I use it lightly in my Choice of Games work in progress, which is not a simulation of the kind Ryan is talking about at all, but I still find it useful for the sake of later callbacks to be able to recall, say, the worst thing one character has ever done to another.

*

After these, Ryan next identifies pains of curation, and this is where the gloves come off.

Continue reading “Curating Simulated Storyworlds (James Ryan) – Ch 4-5”