Interactive Digital Narrative: History, Theory, and Practice is an academic publication from Routledge that retails for £90/$123 on Amazon, which is why even though it is completely relevant to me and my work, it took me a little while to get around to buying it. I would guess that most people who write IF as a hobby won’t buy it either, which is in some ways a shame, because improving communication between the hobbyist and academic communities would be beneficial in both directions. But a book priced for academic libraries is not the most accessible way to accomplish that.
Consequently, this is not a conventional academic book review. Instead, it’s partly meant as a high-level overview of the contents for people in the IF community who cannot afford to read the book, or who might want to know what sort of thing is in it before plunking down more than $100 for their own copy. Much of the rest is an attempt to join up what is in the book with what I know about historical and contemporary interactive fiction and narrative games.
That I spend a lot of time pointing out related IF work is not meant as a criticism or complaint about the book’s scope of coverage — which is in fact quite broad — but as an attempt to help bridge community divides and suggest points of contact between hobbyist IF and academic digital narrative.
Finally, there’s a lot of content, so I’m going to take this in chunks. This post starts with the history section.
Continue reading “Interactive Digital Narrative: History”
June 14, the Oxford/London IF Meetup had talks from three speakers. First up was Tory Hoke of Sub-Q Magazine, who Skyped in from Los Angeles to talk about the process of founding and edition for Sub-Q. She gave us some background on how she got started, how she decided on the pay rate they currently use at Sub-Q, and a bit about the collaborative process.
Next we heard from Derek Moody, whose whodunnitmanor project is designed to facilitate multi-player mystery games, where the author has created clues and information for each player to discover at each turn. Different characters have different expertise, as one might expect in a mystery dinner party set-up, and they can decide what to share with one another during any given turn. When the players think they’ve figured out who is guilty, they can vote — which makes this partly a game of persuasion, like Werewolf, in which the guilty party is trying to pass off attention to everyone else.
Moody also talked about how his system is designed to support players who might not feel sure what they want to do, and how automated features take over if a player disconnects or skips out on the game — always issues in a multiplayer IF context.
Both Derek and Tory are currently seeking writers.
Finally, we heard from Nathan Penlington about his Choose Your Own Documentary project. Penlington is a collector of CYOA-style books — his blog documents many choice-based artifacts of all kinds — and at one point he bought numbers 1-106 of the original CYOA series in a single lot on eBay. When his set arrived, he found that the books contained notes from a Terence Prendergast, and several handwritten diary pages. He became fascinated with the question of what had happened to Terence and where he was now, so he made a documentary about the process of trying to track Terence down. The documentary itself was then performed in front of a live audience equipped with voting clickers so that they could respond to choice points in the story. So, to recap: Choose Your Own Documentary is a choice-based performance that is itself about the Choose Your Own Adventure series, as well as several people who became fascinated with them.
Continue reading “IF and Other Media”