I started thinking today, “hm, what if there were a way through Parchment/Vorple to instantly retweet a line from any IF game you were playing?”
I know, I know. The dark side, it is claiming me.
I started thinking today, “hm, what if there were a way through Parchment/Vorple to instantly retweet a line from any IF game you were playing?”
I know, I know. The dark side, it is claiming me.
There’s a review of Bronze on IFDB that I’ve been thinking about a lot lately.
After hearing so much about Bronze, I was expecting a very satisfying and pleasurable experience. This was not the case for me… I came away feeling like the entire experience was rather hollow and somewhat forced… Beauty and the Beast is a beautiful love story, but in this version of the tale, I felt that the protagonist’s relationship with the Beast lacked very much warmth or deep love.
This is a challenging review for me. Obviously, I’m sorry the reviewer didn’t have a good time. It’s possible that I could or should have done something to frame the presentation of the game to make clear that it was not going to be a traditional fairy tale happy-ending romance. (The closest thing to that I’ve ever written is Pytho’s Mask, which, not coincidentally, has some pretty shallow characters and a heavily gender-bound treatment of love; even so some subversive elements snuck in before the end.) Perhaps I seemed to offer something the game was never going to deliver — and, for what it’s worth, I do think that players have the right to want specific things from their games. Indeed, if the player doesn’t want something, she’s not likely to play for long.
However. The unromantic aspect of the game is not a mistake. On the contrary, it is the summation of the effort and thought that went into its creation.
Fascinating analysis of CYOA romance stories from Sam Kabo Ashwell.
…now has a discussion of Misfortune, a browser-based RPG with Wizardry-esque questlets and some charming art.
Escape from Colditz is a board game about the German castle that during World War II became a prisoner of war camp for prisoners who had already escaped at least once from some other camp. The idea of putting all the most clever and resourceful prisoners together in an old building riddled with hiding places and odd physical quirks was, arguably, not the brightest; those imprisoned found an astounding number of escape possibilities, and the whole story became the basis of a surprisingly strong British TV show. The board game doesn’t touch on the more complex issues here, but what it does accomplish is in its own way remarkable: a skillful pacing of events that creates a sense of growing narrative urgency.
Continue reading “Escape from Colditz as Procedurally Paced Narrative”