PRY is an iOS story that combines video segments and text to explore the inner and outer worlds of a veteran who is still struggling to process his experiences in the war, who is suffering from vision impairment thanks to wounds sustained there, and who is now trying to hold down a job in demolitions.
The interaction consists entirely of swipes and touches of the text: not, as in a hypertext environment, selecting particular words and choices, but instead pinching portions of the screen together, pulling them apart, or sliding along a line of text. The hand is in contact with the screen almost all the time, and movement is almost always meaningful; operating PRY feels tactile and analog, like playing an instrument.
The conceit is that there are several layers of reality happening at a time. Though this is handled in different ways in different chapters, the general rule is that if we spread the page open, we’re opening the protagonist’s eyes, looking outwards, and seeing objective reality. Sometimes that objective reality takes the form of video about what is happening around us; sometimes it’s different text. Or, again, if we pinch the page closed on itself, we’re retreating into the subconscious, where flickering surreal images and rapidly cycling single words of text indicate our fears, our memories, our connections with the present. The subconscious recollection of childhood, or of an incident in war, might underlie our uncomfortable reaction to what is happening on the job site.
Themes of sight and the ability to see are crucial. In one chapter, we can read a braille passage about Jacob and Esau by swiping over the braille text; this functions as an audio scrub, moving the voiceover forwards and backwards. One can read tentatively, a single word at a time, or fast, fast enough to turn the words into semi-gibberish. This appealed to me on several levels: because it recapitulated the physical experience of the protagonist, and that is a level of involvement that iOS games are very rarely able to offer; because it put me in a position of temporary and uncomfortable illiteracy (I can’t read braille and the string of dots meant nothing to me on their own) that suggested helplessness; because I felt relieved when I was able to get the translation after all, via unconventional means.
(Ironically, I suspect that this would be a very difficult game to make accessible to visually impaired players, but I’m not sure.)
Elsewhere, PRY offers a text that opens and opens and opens. Initially there are just a few lines of text on the screen. Pinch them apart, and new sentences appear between old ones, expanding the narrative outward. Sometimes, in a virtuoso trick, the new sentences change the meaning of the sentences that come afterwards: a pronoun now refers to someone different, a description to something else. But the text has to work in both its closed and its open formats. There’s a lot of content here, too — you can keep expanding, keep reading more and more into the screen, for longer than seems plausible. And when there’s no more detail text to be read, sometimes peeking between the lines will instead reveal the subconscious response, flickering words that convey the protagonist’s ambivalence or fear. The lines that have been fully and wholly explored fade gently to a darker grey, guiding the reader to where new material remains to be seen.
It is, in short, an ergodic work that requires a reasonable amount of effort from the player, but the smoothness of the design means that that effort is low in friction and typically enjoyable. There are no choices available that will change what happens in the story, or even how the protagonist feels about them; our decisions are entirely about how deep we will go into the protagonist’s understanding, and what aspect of his experience we want to look at when.
PRY was released without all of its chapters, but even as it stands it is appealing and evocative, and very unlike most other interactive story interfaces I’ve encountered.
(Disclaimer: PRY came to my attention during IGF judging, but I played a copy that I purchased.)
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Emily Short's Interactive Storytelling 