Space Under the Window – Emily Short's Interactive Storytelling

Recently there has been a bit of an argument raging on several blogs about how much a game idea stands alone, how much it’s worth without any implementation, apropos of Squidi’s 300 game mechanics page.

I’m not going to dive into this debate, mostly because the point I’d want to make has already been made eloquently and repeatedly by other people: that the process of implementation includes a certain amount of further design work, raises questions that aren’t covered by the original specification, and so on. It tends to warp an idea in other, subtler ways, too. (A great book on this, not about game design but about art, is Baxandall’s Patterns of Intention. It’s a compelling description of how external and internal forces shape creative production, which I read in college and still go around recommending whenever I have the slightest excuse.)

On the other hand, not every game idea is viable even in its basic form: it’s either not a description of anything that could be elaborated (because it’s about incidental features of the game), or it leads inevitably to terrible implementation problems. So Squidi has genuinely accomplished something by serving up an assortment of ideas at least some of which are really pretty decent starting places.

I occasionally look through the search terms that have led people to this site, to see whether I’m providing what people are hoping to find, and one of the things semi-frequently mentioned is “ideas for interactive fiction” or “if premises” or the like. I wonder what these people are looking for — maybe, in fact, something like Squidi’s list, only IF-specific instead of directed to other kinds of (primarily video) games.

Continue reading “Ideas for Interactive Fiction”

I’ve been saving these for last, because they’re really the juiciest: a couple of articles authored or co-authored by Mark Bernstein.

Bernstein is the founder of Eastgate Systems, a company promoting serious hypertext. They sell a small but — within the hypertext community — highly respected collection of hypertext fiction and nonfiction, at serious book prices: much of it runs from $25 to $45. And they produce and sell Storyspace, a tool for hypertext creation. This is a niche market: the major works are self-consciously literary or pedagogical, and I think it would be fair to say that IF in general is a more populist form. At the same time, hypertext is a more successful niche market than IF: how many of us are selling IF game files at $45 a pop? how many would feel ballsy enough to try? And, leaving aside the commercial, hypertext also gets studied more extensively by academia, taught in more new media courses, and generally considered more serious.

Some of this has to do with accidents of community — with the sorts of people who happened to be drawn into creating each kind of thing, and with the ways in which they framed and presented their finished products. But I also think the media favor different kinds of content, and it’s interesting to look at why.

Continue reading “IF in the ACM literature, Part Four”