Category: IF and Games

DTC FINAL

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0alloldusers

http://dtc-wsuv.org/ssims18/final/

My story “The Empty Shell” tells the story of Richard Trentarion, part of a once proud family in the Holandus Republic, a family wiped off the map after The Great Betrayal, which saw the destruction of Richard’s entire family.

The story starts in the aftermath of the harrowing event, where Richard is confronted with Eric Riveris, the military officer who ordered the attack on his home. The reader is presented with three choices. Either he can kill the man outright with a gun found on the ground, he can spare Eric and head east, or he can drag Eric to where he used to live, where Richard tortures the officer. The idea I’m trying to get across is that choices do matter. Should you choose to torture or kill Eric, Richard will see multiple ghosts of his past. These were originally supposed to be completely random but I could not get random text to work in SugarCube.

The choice becomes more complex in the ending, in which there are three. The three endings admittedly end cliffhangers, especially the torture ending, which is because I plan on continuing this narrative beyond the class.

My goal with this story is to tell a character story, with elements of world building. Stories that take their time in developing and fleshing out their worlds are the stories I enjoy the most. Ideas of family and their importance in this narrative is inspired from Game of Thrones, where family is central part of the books and television show.

The realm of politics is also explored, where Richard is placed in a situation where he must choose to either side with a long time ally, or back stab them for the chance of better prospects. In this complicated decision is Richard’s friend Andrew, who is trying to sway Richard to support the Ispaden claim to the throne of Typhos. Depending on the choice you make early on will determine whether or not you find out what drives Andrew to support the Ispaden family.

There was some inspiration from PRY. Throughout the early chapters, where Richard was at his lowest point, there are many words that you can click on, which give brief snippets into Richard’s subconscious mind, and what he is thinking or feeling in that specific moment in the story. These texts are made bold, italicized, and occasionally colored red depending on context. Depending on the path you choose, will determine the prophecy you receive from the faceless ghost. The mystery I leave the reader to think about is whether or not what Richard is seeing is real, or if it is merely paranoid delusions.

I chose Twine because I love multilinear narratives, they have always been an interesting medium to explore and over the course of the semester, my fascination with them only grew stronger.

Porpentine to “Porpen-twine”: An Artistic Statement

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Katya Farinsky

Farinsky Final Project Artist Statement

Twine is an interesting intersection of hypertext and interactive fiction. Traditionally hypertext is known for non-linear storytelling by creating highly descriptive, brief, sections of a larger story the user must explore to piece together the larger narrative. Interactive fiction generally delivers a linear story focused on exploring a space or completing any number of objectives or puzzles.  Many people would classify interactive fiction as “games” because interactive fiction often includes graphic components which evolved into contemporary video games. Twine hosts many treasured works such as Porpentine’s With Those We Love Alive. Porpentine creates spaces in the style of classic interactive fiction games for the reader to explore using links like classic hypertext works. Users navigate the space by clicking on links but also must complete certain function such as “sleeping” or “breathing” to advance the story in several cases. These two ideas combine to create an incredibly immersive atmosphere and motivates the user to fully explore the piece.

For my own project I drew heavily on Porpentine’s With Those We Love Alive to make my own “Porpen-twine”. Porpentine uses links that are embedded inside the narrative text. To honor this my project has a mix of links that are embedded within the exposition, and some links that come after the narration like text-based adventure games. By using two different styles of lexia I can maintain the user’s attention because the links don’t appear in the same place each time. Additionally, placing links after the narration forces the reader to read the exposition, pause to consider the choices, and ultimately choose which link to follow. This empowers the user and stimulates emotional investment in the story, even though this project’s story is ultimately unaffected by most of these choices.  Each page in my story relies on a concise narrative to continue moving the reader through the story by giving them enough information to stay informed, yet vague to keep their curiosity about what comes next.

Both hypertext and interactive fiction explore multilinear stories so in my project I decided to create two endings: a “bad ending” and a “good ending”. If the user selects the bad ending, they are transported to the beginning of the narrative and must re-trace their steps before attempting the good ending. It was my intent for the bad ending to make canonical sense so there was purpose to the multilinearity. In the lesson loops the white woman explains the warrior of the story was cursed and must un-cover their identity in order to break the curse. If the user fails, the white woman resets the warrior’s memory to prevent the curse from destroying them. If the user choses the good ending, they defeat the bad guy, reclaim their identity, and leave the temple to save the world. This creates two separate experiences that are equally valid because the user must choose the good ending to “win” and complete the content. It was important to me to include this strong linear influence because I wanted to create a piece that can be used to introduce readers to concepts of multilinear stories and hypertext in a manageable way. When exploring other great works of hypertext, it was overwhelming how vast, and complex, the narratives became. Through this project I wanted to show my understanding of genre conventions while also creating something that felt manageable to users who have never encountered multilinear, hypertext inspired works. While this work may never be as popular as Porpentine’s, I am confident my “Porpen-twine” is a fitting addition that honors the trends of the electronic literature genres I chose to explore.

RED RIDING HOOD

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Elaina Sundwall

RED RIDING HOOD is a combinatory, interactive fiction piece collectively written in twine. Our game references and draws inspiration from Colossal Cave Adventure and ZORK. Traversing more thoroughly or multiple times is rewarded with more text and multiple story endings. The narrative and structure were heavily influenced by the process of Jake and I collectively writing the work. It has game like structure and is traversed spatially like a piece of interactive fiction, while having a hyperlink structure by benefit of being made in twine.

Depending on what items the reader finds throughout the game, different parts of the story will be revealed. If you remember to bring your RED RIDING HOOD, text about your character feeling secure and warm will appear throughout the game. But if you forget your hood, whiny, shuddering text will appear throughout the cave system, and there is only one way to escape the caves. The piece is different depending on what items the reader chooses to pick up before entering the forest, and what items the traverser finds throughout the caves. The amount of choices the traverser has when encountering the goblin and Grandma increases with the number of items they find in the caves. The combinatory nature of the piece being linked to the items found while traversing rewards the reader for exploring more thoroughly. It is possible to forget your RED RIDING HOOD, pick up the hatchet and cucumber, smash the golden eggs, escape with the help of the wolf, and only have the options to offer Grandma the cucumber or tell her about the caves at the end of the game. It’s not possible to reach the end with all the items, so it is not possible to reveal all the endings of the game with just one traversal.

The piece heavily references the games ZORK and Colossal Cave Adventure. We sought to incorporate or reference aspects of interactive fiction games, such as traversing the piece spatially and problems for the interactor to solve to reach the end of the piece. Once in the cave system, the piece is traversed using a compass in the lower right corner of the page. Our game was created in twine and is a web of hyperlinks, but the cave system can be viewed as a grid like map in the twine editing interface. The caves are numbered and linked to each other, with alternate link names corresponding to where the cave is in relation to the cave the link is in. These links are arranged into a compass shape using css grid. The problem solving in this game is much simpler than the puzzles in ZORK or CCA. The traverser can use the items they’ve found when they are made available to solve problems as links within the passage text. I chose to use a hyperlink structure rather than an inventory system because it was easier for both Jake and I to make changes to the story this way, and because there would be text in the passage based on the items in the traversers inventory anyways, so it would be simplest for the link to be in the passage.

We reference ZORK and CCA in the narrative and aesthetic of our piece as well. The font and color are reminiscent of the games, but our piece has major differences in appearance from ZORK and CCA as well. There are hyperlinks within the passage text, descriptions of the cold shudder, and the caverns are navigated using a compass with links labelled as the cardinal directions rather than navigating using a text parser. The narrative and descriptions of unsuccessful moves are snarky and sometimes nonsensical, like CCA or ZORK. There are choices the player can make in the beginning of the game or while in the caverns that result in failure, as well as choices that leave the game unwinnable. It is impossible to escape the caverns without the hatchet if you forget your hood.

Our work is a piece of collective writing even though Jake and I were the only contributors, because the way we wrote the piece led to an unsuspected structure and storyline that we would not have created independently. We wrote the piece without the end in mind, though we had a common goal. The beginning of the game, before entering the forest, was written together as an in-class exercise. Beginning the project that far in advance of the due date allowed us to exchange the project back and forth many times. We added a manageable amount each time without the pressure of needing to complete a large portion, and the final version is the eleventh version of the file. We discussed the general direction of the work and occasional details, but for the most part did not know what to expect each time we opened the file. We created twists and problems for the other writer to solve that created a story and structure neither of us would have made on our own. Jake created the treasures and expected me to create a trophy case or have Grandma send RED RIDING HOOD back into the caves to retrieve the treasures, but instead I introduced the goblin to the story and created multiple ways to escape the cave system using different treasures and items. An arbitrary decision during the collective writing process made our piece multilinear, a choice either of us might not have made had we written the piece by ourselves.

The collective writing process mixed with creating aspects of interactive fiction was difficult and rewarding, because as we created puzzles for the traverser to solve, we created problems for our partner to find a solution for in the writing. The game flows from a hyperlink structure, to a spatial structure, and back to hyperlinks, and has multiple endings. RED RIDING HOOD grew into a game that neither Jake or I could have expected when we first began it.

Pry – Part 2

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Jake Martin

The second part of Pry is just as immersive, while revealing more of the actual story. Chapter 5 starts with James taking another job that leads him to a bridge where he eventually falls off into the water after his vision fails him, he then appears in a desert where the text just keeps saying “Go back” with various other phrases. I think this is him trying to go back into his mind to the time he was at a base, since that was also mentioned. If you try to pinch into his mind, it’s just videos of him still sinking into the water from when he fell on the bridge.

Almost like while he’s sinking into the water, his mind is thinking about his past, somewhere else completely. Chapter 6 was pretty cool, as it started off with just two lines of text and every time you pried the text open, more would appear until eventually you could “tear” the text in half to see a video behind it. Eventually, the chapter ends and forces you onto the next one. Chapter 7 then begins with James and Luke sitting in the desert by a fire they built, and as you pry, you can switch between multiple videos while their voices talk in the background.

It was really cool to be able to switch between all kinds of different things happening in the same place while still hearing the story behind it. Chapter 7 also starts to reveal more of the story between James and Jessie. It’s apparent that James blames himself for Jessie’s death, even though she died because of an attack in a building. James says that it was his fault, and that she called to him but he ran away, leaving her to die. However the text, and presumably Luke, say that he wasn’t there at all, and he was in a different building across the street playing poker. It’s revealed through more videos that James and Jessie got into a fight, which caused her not to go to the poker game and end up in the building that was attacked, causing her death. James says that she wasn’t at the game because of him, and if she was there she would have lived, making her death his fault. At the end of chapter 7, James pulls himself out of the water, and the user is unable to pinch or pry into his mind anymore.

Final Description

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Elaina Sundwall

For our final project, Jake and I are creating a cavern exploration adventure game in the style of ZORK or Colossal cave adventure. We will make references to the other two games throughout, but the game will be playable without the context of the other two games. The game will be created in twine and will not be navigated like ZORK and Adventure in a text parser style, and instead will be a hyperlinked, choose your own adventure-esque game. This project will be investigating hypertext using twine, interactive fiction through the structure of the story and the references to other games, and collaborative fiction, as Jake and I will trade the twine file back and forth to create the game. Due to the explorative and collaborative nature of how we will be writing the piece, the plot is tentative and may go in a different direction.
The traverser plays as little red riding hood and begins the game by being told to deliver a basket to grandma’s house, in the forest. Before going in to the forest, the traverser may look around for tools that may help them throughout the game. For example, the traverser may remain in the house and look around, finding their red riding hood, which will keep the warm later in the game. While investigating the garden outside their home, they may take a vegetable and a gardening tool, which may help or hinder them during their quest. Upon reaching the forest, the traverser will fall down a hole and must navigate a series of caves to escape.
Aspects of ZORK and Adventure we plan on emulating in our game include an inventory with a set limit, navigating using the cardinal directions while in the cave system, and actions available to the traverser that leave the game unwinnable. The inventory system in ZORK adds an element of difficulty and strategy to what items a traverser needs to prioritize during the game. Little red riding hood carries a basket of food for her grandmother and will carry her inventory in the basket as well, giving us a narrative reason for her limited inventory. As the game is navigated through hyperlinks rather than a text parser, while in the cavern system there will be a hyperlink for each direction, as well as a hyperlink to the basket inventory.

Ad Verbum

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Elaina Sundwall

I had a funny conversation with my father while traversing “Ad Verbum” by Nick Monfort. My dad came into the room and I mentioned that I was reading interactive fiction for a class, which I described to him as text-input based games which he had told me about playing when he was younger. He chuckled and said that he remembered games like that required you to use very specific words to be able to navigate them. I said that actually, I was mentioning it to him because I couldn’t do something in the game and I was wondering if he could help me guess the command. He immediately asked “Are you trying to go upstairs?” Yes I was. He told me to input “go stairs” and of course it worked. Here is a screenshot of all my guesses of how to go upstairs, and his answer.

My dad even remembered the names of his friends that he spent an afternoon with in front of a computer guessing how to go upstairs. The first thing he remembered about interactive fiction was how difficult using the text parser was. Rettberg describes this feeling hilariously as:

“The actual experience of interacting with IF can however sometimes seem more like conversing via telegraph with a precocious chimpanzee who has worked out a compass and the possession of objects than conversing with an adult human.”

This aspect of IF is becoming less of a problem as technology improves and text-parsers become more intelligent. The challenge of thinking and communicating in ways that a computer will understand. What was originally a limitation of IF games has become a feature of the game and these types of games have an aspect of nostalgia today because of it.

Interactive Fiction and Narrative Games

Jarid Schoenlein

Out of all of the games presented in regards to the scope of the discussion, the two that stood out to me the most were Jason Nelson’s Game Game Game and Game Again and Porpentine’s Howling Dogs. While both of these works of interactive fiction are different and unique in their own ways, they both speak to how a small, close-knit community of individuals can create meaningful and entertaining games through a variety of platforms.

Howling Dogs is a work of interactive fiction created with the platform Twine that explores the idea of how games and hypertext fiction play on each other to create a storytelling experience that also feels game-like, as opposed to a more traditional story. As stated by Rettberg:

“While the underlying principles of Twine are based in hypertext, many Twine games have also adopted conventions from interactive fiction, such as second-person form of address to the player character, spatial navigation through the narrative, and a sparse, economical style of writing” (Rettberg 105).

Howling Dogs certainly displays some of the characteristics of a work of interactive fiction described by Rettberg. The player is placed in what is described as “A room of dark metal” and is given the option to navigate through the game by choosing through a selection of hypertext links that take the player through a variety of different scenes.

Game Game Game and Game Again on the other hand, is much more “game-like” in a traditional sense, although it does have its quirks. The player is tasked to navigate through a set of thirteen levels by using the arrow keys and space bar to move and jump, respectively. What makes Game Game Game and Game Again especially unique however, are the narrative elements that are added to the experience, such as the home videos that pop up on the screen and the graphics that hint at a particular message that Nelson is trying to convey.

Interactive Fiction

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0alloldusers

In looking at the various interactive fiction pieces for this week I chose to focus on Game Game Game and Game again as well as Adverbum.

First Game Game, I found this piece quite jarring in the way it was presented. The main thing I believe the author wanted to represent was themes instead of a clear story. I think the themes were family, childhood, religion, and money/success. At least that’s what I thought I was picking up on. In playing the game a few times the sequence is open to change, so others could view the themes/story differently.

However, Adverbum was a more clear adventure story, in contrast to Game Game it is more basic with just the text and no visual cues. I do feel that this piece is better at letting the interactor use their imagination to envision the story. Whereas, with Game Game most everything is shown to the interactor leaving little room to expand upon.

Although some might find it frustrating in Adverbum the need to find the right phrase to move on to the next part. I do feel like the interactor has to be dedicated to take the time to finish the story. In first trying I was stuck using the wrong words to move on with the story. Getting the reply “that’s not a verb I recognize”. I did appreciate the format though as it did present an interesting challenge.

I do think that this form of literary fiction is one that I have found the most engaging so far.

Games To Communicate

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Jake Martin


The first game I looked at was “With Those We Love Alive”. I actually really enjoyed this one. The story was a bit confusing but as I went through it I found myself more and more invested in it and how the story would play out. I loved the attention to detail in some areas that didn’t have any significance to the plot but were still very descriptive on how things looked. There were some powerful images as well. I’m not sure where exactly I found it but at one point I stumbled across the sight of an angel’s corpse, which is a very powerful message to convey. As well as multiple references to other dead people or corpses,

“Pale, shriveled humans sleep forever on the floor. Pipes run from their heads into iron barrels.”

“Death jungle chokes the land to the north. To the south, ashen wasteland. A dead person is sitting on the balcony, swinging their legs.”

Also, as you go through the story some of the scenes will change. Such as after you make the Empress a weapon, if you go into the throne room there will be the option to view whatever weapon you chose to make her. Another component of the story is that based on your choices, the character will draw different symbols on their body. Some that I remember were; shame, relationship with the chasm, insight, and more. I noticed the main way to progress through the story was just to go to sleep until the next part unravels.

I didn’t enjoy “Howling Dogs: Room” as much as I did the other one. However, after noticing a mention of an empress in that story as well, I went back and noticed that the two were actually made by the same person, which is something I didn’t notice before. They both were stories made using twine, and they definitely have similarities but the stories were very different. “Howling Dogs: Room” is mostly about a person who seems to be trapped in a very boring life, just barely scraping by with the minimum. On top of that, it seems like the character is living through an artificial world through the use of VR. An interesting aspect of this is that the player isn’t allowed to continuously using the VR machine unless you guide them to eat and drink first, forcing you to constantly go back in forth if you want to continue. I also find this interesting because this machine is forcing the character to keep themself alive if they want to continue going into the virtual reality.

Why “Galatea” is Great, but “Stories Untold” Is Better

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Katya Farinsky

Farinsky Blog Post 5: Interactive Fiction & Narrative Games

Stories Untold Episode 1: The House Abandon.

Interactive fiction like Galatea by Emily Short or Narrative Games like Deviant: The Possession of Christian Shaw by Donna Leishman offer a reader experience unique from, yet similar too video games. Readers are presented with a prompt and allowed to control mouse or keyboard inputs to advance the story.

Within Short’s work readers must type phrases such as “look around” or “ask about” in a dialogue prompt to further the conversation with the sentient statue of Galatea.Typing a phrase that matches a command in the program’s directory produces an output with hints about Galatea’s past, thoughts about sentience, and creation.

Each click in Leishman’s predominantly visual work exposes new imagery with objects to explore. Going through each pathway of images and clickable items reveals the story loosely based on the 1696 witch trials. This work also offers a soundtrack to accompany the reader which contributes to the unsettling nature of the story as it becomes apparent something is terribly wrong.

Both of these works are great, however for someone who did not grow up playing text based interactive fiction games navigating “Galatea” can be maddening. This is why Stories Untold from developer No Code is perfect to introduce Interactive Fiction to a new generation of Internet Natives.

Stories Untold is 4 short stories which seem non-linear, but come together in an extremely rewarding way. The first chapter is similarly structured to Galatea, but the text prompts in Stories Untold give strong hints to what the user should input to advance the chapter making it easier to guess what terminology will advance the game. The following chapters expand on the text based adventure to include puzzles, different graphic interfaces, and brief linear paths to walk through similar to other video games. It is a brilliant combination of modern video game design mixed with an 80’s vibe and older mechanics. There are many elements that are also reminiscent of older electronic literature studied in this class making Stories Untold the next step in the evolution of Hypertext and Interactive Fiction.

This game is available on Steam for under $10.00. Also, many people on YouTube have posted a video play-through with commentary, or not, making the game just as accessible financially to other works, but also more available to players who are unfamiliar with the terminology necessary to play interactive fiction and want to see the full story play out.

WARNING: Some scenes in this game may cause epilepsy due to brief patterns of flashing light on the emulated monitor interface. 

Click Here to be directed to the list of videos available on YouTube or Click Here for a recommended version from Jacksepticeye which has excellent commentary.

Interactive Fiction & Narrative Games

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Megan

I chose to look at With Those We Love Alive and Howling Dogs. With Those We Love Alive has a more personal aspect to it, since there are specific questions about the user once they start the story. This makes the game seem much more personalized and customizable, which is something many people enjoy. Howling Dogs seems much darker because of the white text on black background, and has no personalized features whatsoever. This game/story comes off more as a way to read a story by clicking links, rather than the user being immersed in the narrative. Howling Dogs has a clear goal, which is plainly: progress through the story. With Those We Love is a bit more open-ended and seems as if it may have a more complicated goal such as: taking time to experience the story and question the meaning behind it. It feels more like a journey than Howling Dogs. The works engage with imagination in similar ways, they both feature very vivid imagery throughout their storytelling.