announcements – Page 9 – Emily Short's Interactive Storytelling

Introducing Versu

Versu is a new interactive storytelling platform Richard Evans and I have been working on at Linden Lab. Some of you may have seen lead-up presentations about it at GDC (possibly long enough ago that it was still called Cotillion).

Today, the first four Versu stories are available for iPad. Clients for Kindle and Google Play will follow, as well as stories in other genres and by other authors, and both character- and episode-authoring tools will be made available to the general public in the future.

Versu focuses on character interaction as its primary form of play. The Versu platform can do rooms, objects, movement, and the “medium-sized dry goods” interaction of a typical interactive fiction engine, but it’s primarily designed for interactive stories about people: how they act, how they react to you, how they talk to you and talk about you, the relationships you form with them. The social landscape in which you act is constantly changing.

Versu uses an AI engine designed by Richard Evans, the lead AI designer for Sims 3, which allows each character in a story (and in some cases a drama manager AI) to act autonomously or be played by a human player.

Because there’s a strong social model at work in Versu, it’s possible to form relationships with characters that the story author did not explicitly create. In play, you can decide you want to pursue a romance or make an enemy, and that outcome can occur even if the author did not write an arc specific to those two characters.

Versu has a choice-based interface, but it’s very unlike standard CYOA. At any moment in the story, you can choose to act, or wait for others to act. If you choose to take action yourself, you’re offered a set of options drawn from the world model at that moment, from taking a bold stand to giving someone a significant sideways glance. Just about everything you can do affects your character’s opinion of the other characters, and theirs of you, altering the playing field for what’s to come. Inaction can be a powerful choice.

Versu offers moments of narrative emergence. Late in testing, one of my characters was talking to another in confidence when a third party wandered in. Because the speaker didn’t feel comfortable around that third person, he fell silent and didn’t continue the conversation — there was an awkward pause and dialogue moved on to other things. I’d never written the “awkward pause when X walks in on a private conversation” outcome — just an engine that knew when the characters would be willing to discuss those topics, and also that it was awkward for someone to stop talking about a conversation topic when others were expecting them to go on.

This can happen elsewhere too, in large and small ways. The degree to which emergent character behavior affects large story outcomes depends on how flexibly the author has written the overarching plot. “The Unwelcome Proposal” is an example of Versu being used very conservatively, capturing as much as possible of the story text from a scene in Pride and Prejudice, and allowing for few deviations from that story. “House on the Cliff” and “A Family Supper” have a much broader spectrum of possible results, depending on character choices and relationships. Even more sandbox-like experiences are in the pipeline.

Versu allows for characters who act distinctly. A social model is only interesting for building fiction if it doesn’t make everyone act like identical automata. In Versu, different characters are built with different abilities and parameters — not a handful or a few dozen character traits, but a potentially infinite range of quirks and habits. It is possible to craft social behaviors that are unique to just one character — giving one guy the ability to get under people’s skin more than anyone else, say — or to make a character who hates being in a crowded room.

In addition, because characters are defined as separate entities in this way, they could be transferred from one story context to another, and even cast in stories that weren’t specifically written for them.

The stories we’re releasing today are just a taste of what is possible with this engine. I’ll post more of my usual analysis content over coming weeks — what it’s like to write for Versu, the difference between authoring characters and authoring stories, details of the conversation modeling system, and more about what we’re expecting to see in the future.

New SPAG!

After more than a year’s hiatus, SPAG is back with a new issue, in a new hosting space. For those who aren’t familiar with it, SPAG is a long-standing (but occasionally on-vacation) IF community zine with editorials, interviews, and, in the old days, lots of reviews. As IFDB and personal blogs collated at Planet-IF have become review hubs, SPAG’s review content has dropped off a bit: the new editorial direction is moving largely away from reviews. But SPAG is still a useful place for longer articles, interviews, and discussions, so it’s great to see it make a reappearance.

The current issue features interviews with the three top-placing authors from IF Comp, an editorial from the new editor Dannii Willis, and long-form articles about shared-world creation and about detective IF as a genre.

Counterfeit Monkey

Cover art for Counterfeit Monkey Anglophone Atlantis has been an independent nation since an April day in 1822, when a well-aimed shot from their depluralizing cannon reduced the British colonizing fleet to one ship.

Since then, Atlantis has been the world’s greatest center for linguistic manipulation, designing letter inserters, word synthesizers, the diminutive affixer, and a host of other tools for converting one thing to another. Inventors worldwide pay heavily for that technology, which is where a smuggler and industrial espionage agent such as yourself can really clean up.

Unfortunately, the Bureau of Orthography has taken a serious interest in your activities lately. Your face has been recorded and your cover is blown.

Your remaining assets: about eight more hours of a national holiday that’s spreading the police thin; the most inconvenient damn disguise you’ve ever worn in your life; and one full-alphabet letter remover.

Good luck getting off the island.

Continue reading “Counterfeit Monkey”

Assorted Items

Failbetter is Kickstarting Below, a StoryNexus piece with rogue-like underground exploration and a Viking-flavored backstory. One of the higher-tier rewards is a physical opportunity deck; I have an earlier version of this from their Silver Tree Kickstarter, and it’s a fun piece. Not sure if this sounds like your thing? There’s a playable prototype already online.

If you’d rather write your own StoryNexus game, you might be interested to know that the Winter World of the Season competition is open; the deadline is 31st December 2012, and the entries will be judged by a panel of various interactive storytelling people, including Jon Ingold.

Meanwhile, “To Be or Not To Be: That is The Adventure”, a choose-your-path version of Hamlet (careful not to call itself CYOA for legal reasons) has steamed through to an astounding $139K raised. This is no doubt due in part to the luscious Kate Beaton illustrations accompanying the pitch. Like this:

Which incidentally looks like it might be prototyped in Twine. (Check out 4:07 in the video if you don’t believe me.)

Sparkly IF Reviews

Sparkly IF Reviews is a new interactive fiction reviewing site that I have started with a growing list of other contributors. The name is silly, but I’m entirely serious about the aim of the site, which is to provide a safe-for-authors space that focuses on recognizing successful or cool things in IF, cheerleading new contributors, and letting people know what was appreciated. The concept of the site is to feature positive, sincere feedback; short-form and long-form are both totally acceptable.

This project springs from my feeling that the IF community, for all its resources, lacks the nurturing aspect that a lot of fandoms and hobbyist art and craft communities have. Writing IF is hard. Putting IF in public is an act of courage. And while I think it’s important for us to be writing reviews that critique craft and conceptual content, and that curate the best work for the attention of players who might not otherwise find it, we really need the encouraging aspects also.

I want to emphasize, though, that I don’t see this as somehow a kiddie website where people review games that are not good enough to be reviewed elsewhere. Rather, it’s meant to create a different context of discussion — and that can be freeing even when you’re talking about a game that you thought was really strong. Most of my reviews are pitched to potential players as much or more than they’re pitched to the original author, and so they do a lot of explaining and describing, and attempt to catalog thoroughly any flaws or issues that I think might affect a player’s decision to play that game. Sometimes it’s very pleasant to be able to step aside from that and just write about what I liked, for the ear of the author. Possibly other reviewers will find they like that too.

And from an author’s point of view, it’s meant to create a safe context of discussion. I’ve released enough games to know what it’s like seeing a link to a review of your game and to hover apprehensively before clicking, nerved against feedback that might be exciting… or might make your heart sink. This is meant to be Not That.

Currently on the site, you’ll find reviews by me, Zach Samuels, and Sam Kabo Ashwell. They touch on Changes, Valkyrie, Escape from Summerland, howling dogs, J’dal, Signos, and Fish Bowl from the current IF Comp as well as the Ectocomp game Beythilda the Night Witch and the Andromeda Legacy game Andromeda Dreaming.

If you choose to comment, please respect the concept of the site. I will moderate as necessary to keep it a safe place. There are plenty of other places suitable for critical and unmoderated discussion.

Finally, if you like the idea, more contributors are welcome; let me know if you’d like to be involved in the project. I’d be especially pleased to get coverage of the remaining IF Comp games this year.

I would also welcome positive content about things other than games. So if you have a beloved tool, extension, feature, etc. that you want to praise, that would be suitable too. (That reminds me I should write a post entitled David Welbourn’s Walkthroughs Are Freaking Awesome.)

First Draft of the Revolution Released

First Draft of the Revolution is now out, available to read through the browser or as an epub. (This is the project trailed here and here.)

First Draft is an interactive epistolary story I built with Liza Daly, with subsequent design work by inkle. Set in the universe of the Lavori d’Aracne, it tells a story from the beginnings of that universe’s French Revolution, when certain anti-aristocratic forces are finally discovering how to break the magical power that has kept the nobility in power for so long.

For those interested in the concept of interactive epistolary story, there’s a fairly long author’s note on the website. This bit may suggest how First Draft compares with choice-based narrative:

[I]nteractively revising text involves multiple simultaneous choices which influence one another. Instead of asking the reader “then what did the character do?” or “what happened next?”—as choose your own adventure stories do—First Draft of the Revolution asks the reader to consider a number of simultaneous decisions, try them out, take some of them back, and finally settle on an acceptable version before moving on.

inkle’s blog also contains some discussion on the technical implementation.