My own personal Ada

When I was first old enough to realize my mother had a job, she was employed at JPL, processing images returned by the space program. Later she worked for a think tank coding complex simulations of geopolitical conflicts; then for a major aerospace firm, where she rose to the highest rank available to technical employees. In our household, it was my mother who talked at the dinner table about ARPANET and modems, about version control problems and root passwords getting into the wrong hands. It was my mother who taught me my first lessons in science, who set up the telescope on camping trips, who explained why candles burned or how to view an eclipse, who gave me graph paper and taught me how to plot a function when she thought math class wasn’t challenging me enough. I first heard of the world wide web from her, when it was still more of an idea than anything else.

When I was a kid, I had dolls and books and art supplies, and a play stove that Mom made (at my request) out of cardboard boxes and contact paper. But I also had a train set and blocks, a building toy with gears and motors, an electronics kit, a microscope, a fossil and mineral collection, plastic boxes for collecting bugs, a computer and training books about how to program it… No one in my family ever suggested that some of those things were somehow less appropriate toys for a girl than others.

It is, I think, because of my mother that I start out startled (before moving on to irritated) when I read some sexist joke about women and programming, or when I meet someone who assumes I must be frightened by math and code when they know nothing about me but my gender. I know that my mother had to deal with a lot more of this than I ever have — with overt and unembarrassed prejudice, with blatant decisions to underpay the women on her team.

There’s still a lot of work to do, but I have my mother to thank for the fact I find those assumptions so alien: the first programmer I knew was a woman.

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.

Phrontisterion, and some more thoughts about tools and the art

A couple of weekends ago I went to Phrontisterion 7, a living-room-sized conference on interactive storytelling run by Chris Crawford at his home in Oregon. Participant comments from that are now available.

For context for people who weren’t there: it was a really wide-ranging discussion about what projects currently exist in interactive storytelling and how/how well they work (Saturday) followed by forward-looking stuff about what to do next (Sunday). On Saturday, we talked about (among other things) Prom Week and Storybricks, Storyteller, LA Noire, Chris’ plans for Storytron 2.0, StoryNexus, ChoiceScript, and the project that I’m working on for Linden Lab. Though there weren’t formal presentations on these items, people also talked a bit about conventional interactive fiction, and about Varytale and StoryDeck.

Sunday was directed more at the question of “well, what next?” — and that was a more challenging discussion, one that I think frequently frustrated Chris. We generally agreed that we’re not trying to reproduce the Holodeck as such, at least not in its full technicolor, surround-sound, smell-o-vision glory, and quite possibly not in most of its other aspects either. I may possibly have gone on a short rant on the value of text, darn it, you know, with words, and how text is not inherently a second-class citizen and a cheap substitute for the greater expressivity of visuals. (Visuals are cool, and if there were to be a Holodeck that could conjure up a 3D immersive sensory experience, you bet I would want to try that thing out for sure. But. The art I personally want to create is made of language.)

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Varytale Analytics

So Bee has been out for a couple of days now in reader beta, and my analytics page overflows.

The Varytale system includes a mechanism by which readers can rate and comment on any individual piece of the story as they go along, giving a one to five star ranking and displaying the average of those ranks as the book’s quality score. The commenting part is well-hidden and of course requires more effort on the part of the reader — I’ve gotten only a handful of comments, mostly to inform me of localized typos or bugs — but the ratings part is almost intrusively prominent.

As a reader, I’m not sure how I feel about being asked to grade what I just read every few paragraphs, so I haven’t actually had the nerve to grade anyone else’s Varytale books; and for that matter even just being asked, “hey, how did you like that?” so frequently relentlessly draws my attention back to an evaluative process when I might prefer simply to experience the story for the time being.

So I have mixed feelings about it as a reader, but it’s the authorial perspective I want to mostly talk about here.

As an author, you get a big chart that ranks all of the ratings of all of your storylets. Analytics results also break down further details about how many people chose each of the several paths through a branching storylet, in what order, and so on. You can see exactly how many people read each storylet, and on which dates. There’s no way to tell for sure when a given reader stopped reading your book, because in theory they could just not have finished it yet, but lots and lots of other metrics are visible.

This is the first time I’ve been able to collect that kind or level of feedback on any of my work, and I am morbidly fascinated. I’m going to show the top and bottom ends of the chart for Bee, which will necessarily be just a tiny bit spoilery for the names of sections in the story.

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Bee out in Varytale Reader’s Beta

Varytale is a platform for interactive stories that fall somewhere on the spectrum between stateful CYOA (like Choice of Games) and quality-based narrative (like Echo Bazaar).

As you can see from the screenshot, the experience is intentionally booklike and lushly textured. Varytale borrows or improves on the attractive qualities of Undum. There are visible stats if the author wants them (or else not). Choices can appear as links embedded in the text or a list of options immediately following it. You can keep track of your place in a book with one or several bookmark ribbons, which grow longer over the cover of your book the more you’ve read.

Currently the reader’s beta offers access to four official books:

I haven’t gotten very deeply into Fighting yet, but How to Read is a tidy, brief introduction to how to use Varytale and is likely also to be interesting to anyone thinking of writing Varytale books in the future. Hymn and Shanty is more like interactive poetry, allowing the player to choose stanzas to add to a song. There’s also a growing collection of reader-submitted stories.

Bee is a new work of mine, written for Varytale: it’s the story of a home-schooled girl preparing to compete in the national spelling bee, dealing with various small crises with family and friends, and gradually coming to terms with the clash of subcultures involved in belonging to a family like hers.

Bee is not reviewed anywhere that I know of (unsurprising given it’s only just out), though one reader had this to say:

It’s fascinating to me, how the family dynamics and cultural dynamics–and the growth of the main character–weave in and out with the concentration on learning how to spell strange and unusual words. The protagonist has a distinct personality, but the choices she (well, you) make are constrained and opened both by earlier choices, and cultural indoctrination, and all sorts of other things. And it often comes back to spelling: as a concentration tool, a mode of defiance against parents, a meditation on spiritual matters.

If you heard about the Varytale beta before now and went to have a look, you may have encountered a version that was action-metered so that you could only play a few steps at a time. I don’t feel like that was perfect fit for the book. The platform has been revised so that it’s now possible to remove that requirement, and I’ve done so; if you want to read Bee in pieces, that’s still possible, but you can also go straight through if you want. (Though the screenshot includes a bit about “Credits”, Bee is currently free and requires no purchase.)

There’s quite a bit to say about the Varytale authoring tools as well: unlike its predecessor Undum, Varytale offers a fairly significant set of tools for putting a book together. But I’ll save that for another post.

Edited to add: some additional comments on Metafilter, Free Indie Games, IFDB review, Gamespite thread.

IF Comp 2011: More on Andromeda Awakening, and comp reviewing in general

This started out as a response to a blog post by Francesco Cordella (here’s the version in the original Italian), but it got much too long for that context.

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