A Very Exciting Announcement

Some small bugs that were preventing the Inform 7 extensions RSS feed from appearing quite right under Firefox and Safari (two different bugs) have now, we think, been resolved.

I knew you’d be thrilled.

Conventional reading for IF

Recently someone emailed me with the following question:

Going on the assumption that if you like to write, you must also like to read, I was wondering if you would be willing to share any books/short stories/writings — anything non-IF — that you really enjoyed or perhaps even inspired your style of story-telling.

I’ve had a pretty busy week and haven’t gotten around to answering, but I thought it might be an interesting one to throw out here, and see what other people think about IF-inspiring conventional writing.

So, a couple answers of my own:

• Borges. His stories are often thought experiments about memory, narrative, or language, with implications that are evocative for interactive storytelling. For related but not identical reasons, Italo Calvino.
• Donna Tartt’s The Secret History. Tartt has a special gift for choosing evocative details — little sights or sounds that capture a whole mood or carry a wealth of connotation.
• Annie Dillard’s essays (not the fiction, which I’ve never been able to get through). Dillard writes deliciously musical prose, and describes landscape beautifully. The opening of An American Childhood remains one of my favorite passages of English prose.
• John Crowley, mainly Little, Big, for the symbolic weight and metaphysical power it gives to simple objects; this was a non-trivial influence on Metamorphoses.
• Plato’s Symposium. Often dry or archaic in translation, in Greek it is witty, sly, sweet, sad, sexy and beautiful; it describes vividly and presently people now millennia dead. The dialogue that is both intellectual and personal has great resonance with me.
• Copenhagen, by Michael Frayn. Again: dialogue both intensely intellectual and intensely personal. And, I would also observe, dialogue that is not very naturalistic. I tend to write somewhat stylized dialogue for IF, and I think in this I’m influenced a bit by my diet of plays (both ancient and modern) and my sense that an interactive dialogue needs to be more compact than our rambling conversations in real life. (Not, I hasten to add, that I imagine myself on Frayn’s level, or anywhere near it. Copenhagen I consider one of the masterworks of the past century.)
• Mote in God’s Eye. I just finished this a few weeks ago, so it’s not so much a longterm favorite as something I recently have been thinking about. What impressed me about this one was how intensely compelling I found it. Which got me thinking more about how to inspire and use the player’s curiosity as a motivating force to get him to keep playing.

More on that Guardian project

For those who are interested, the introductory article and blog post for the Guardian’s text adventure project:

http://blogs.guardian.co.uk/games/archives/2008/05/06/spaceship_launches_a_new_wikigame_emerges_from_the_ashes.html

http://www.guardian.co.uk/technology/2008/apr/30/textadventure

Plot, scene by scene

When I plan plot-heavy IF, I think of it in terms of a sequence of scenes. This doesn’t mean that the gameplay needs to be rigidly linear: scenes can occur in varying orders, or there can be plot branches, or scenes that can be skipped depending on player action. But I nonetheless do the organization in terms of scenes. A scene has a definite beginning and a definite end. It usually has to take place in a specific area of the game map (which may mean that the player triggers it by entering that area [as in City of Secrets] or that I move the player myself when the scene is scheduled to start). Following some writing advice I got long ago, I try to make most of the scenes end with some kind of clear hook. At the end of the scene, the player should ideally have a new take on what is happening, or a new problem to solve, or a new question about what is going to happen next. Exciting the player’s curiosity about something is especially powerful in getting the player to keep playing.

But the conventional writing advice tends to be insufficient when it comes to the types of scene that IF supports. I find that in interactive fiction my scenes tend to come in several styles, identifiable by the sort of interaction I expect from the player.

In rough order of intensity, they are

Source updates

The source code for When in Rome 1 and 2 has been updated so that it will compile under the latest build; this is the first time in a while that that has been true.

Inform 7 Build 5T18

…is up. This is a milestone in a number of ways: it’s the 15th Birthday edition of Inform, and it finishes a number of things that have been in progress since January of last year. The Mac IDE comes with a simply awesome table of contents, which lets you view just a small section of your code at a time, or zip back up to the top level; this will filter through to Windows as well. I already find this so essential that during the testing phase I hated those occasions when I had to go back to using the last official build to test user problems…

On the IF Cover Art Drive, for Future Reference

…and we’re done! I’ll be contacting authors by email over the next week or so (I have a bunch of addresses I need to look up first), and obtain permission for as many of the submissions as possible. If you’re an author who has yet to respond to a piece, feel free to drop me a line ahead of then, though.

I am thrilled with both the quantity and quality of the submissions, and I want to thank everyone who pitched in: between you, you made sure that art was offered for every single game on our request list and that we ended up with well over 100 games accounted for. For context, when this started, there were at my estimate around 130 games on IFDB with cover art of any kind; scrounging around for commercial covers and posting art from people’s private websites, etc., boosted that to around 240; and now we’re at nearly 300, with a number of covers still to be added if the authors approve them. Admittedly, that still leaves a huge majority of IFDB un-covered — over 3000 games are listed — but I think there’s now enough there to make the site on the whole feel a bit less spartan.

I don’t know that I’ll do this again — it was loads of fun, but I don’t want to promise to make it a yearly event or something. So I wanted to write a few notes in case anyone else wants to do another one later. (There are a bunch of bits where I say “…and this would save the organizer time” — this isn’t meant as a complaint, but I suspect it would be worth streamlining the process if it were going to be a repeat event.)

Details follow the cut.

IF Feed Aggregation

There are an increasing number of IF-related blogs, and now they have their own Planet, so you can find and follow all the news at once. Check it out — and if you also have a blog you think should be included, notice that the right-hand column includes contact information for Christopher Armstrong, who put this together.

Wiki-based IF Design

I’ve been asked to announce, for people who might like to participate or look on, that The Guardian’s gameblog is doing a group IF project. The language of choice is Inform 6, but it looks to me as though it’s possible to participate in a non-coding capacity as well, if I6 is not your thing. I have the impression that they would be glad of participation from some IF veterans.

The project is due to be officially launched tomorrow, but there is already content at http://textadventure.org.uk.

Other Interactive Fictions: Dreaming Methods

Dreaming Methods is a site I ran into over the weekend because it tags itself as interactive fiction. Which it is, if you take that term in the most open-ended way. Each (of the stories I tried, anyway) presents an environment made of panning still photographs; with a mouse you can direct movement across these photographs as though you were turning around in a room, but the range of motion is limited. In each scene there are a few hot spots to click on.

Meanwhile — defying the sense that this is a very budget sort of graphical adventure — lines of text float through the environment at various distances. Sometimes they appear far off and small; sometimes, so close to the viewer that they are out of focus, hard to read. The effect is like encountering unacknowledged thoughts, things that one has never brought into focus in one’s own mind. It’s unsettling.

The two stories I tried (Capped and The Flat) are short, atmospheric, with very little in the way of plot; only a slowly unfolding discovery of past events. I never did feel that I understood The Flat; Capped makes sense if you’ve seen the Tripod series, but probably not very much otherwise. On the whole, these seemed to me to have accepted a hypertextual idea of what interactive fiction can be: most often an exploration of thoughts and memories of past events, with little or no foreground action.