Transcript Posted (Game Audience discussion)

The transcript for the (admittedly brief) theoryclub meetup on game audience is here. Due to travel I was only able to be online for a bit in the middle, so thanks to Zach for logging the session.

What shall we take on next? The next meeting is Oct 11; proposed topics include

Puzzles and story: what puzzles are most satisfying, and most useful, from a storytelling perspective? Are there types of narrative experience that can be generated only through puzzles?

Replayable IF: what makes a game satisfying to replay, especially in an often narrative and puzzle-based genre?

Preferences and alternative suggestions welcome over the next week or so; then I’ll pick something.

Edited to add: We’ve now settled on replayability. Some possible starting points for discussion are as usual listed at the Discussion Club page.

The Ascent of the Gothic Tower (Ryan Veeder)

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The Ascent of the Gothic Tower is a brief but evocative parser-based story by Ryan Veeder, originally released as part of Storybundle but now available to play for free.

It describes an exploration: the protagonist is trying to get into the titular Gothic tower, a difficult-to-reach space on campus. That impulse to enter and explore the forbidden spaces enclosed in public areas (especially college campuses) is one of the primordial urges behind the text adventure genre. Certainly at my college campus, there was quite a bit of hobby overlap: the same sorts of people who played and discussed text adventures were the ones who had accounts on the Unix system; organized small illicit tours of the college’s steam tunnels, attics, and basements; and who practiced recreational lock-picking.

The Ascent of the Gothic Tower concerns the longing to understand infrastructure and (most of all) to reach locations that are inherently interesting but perhaps off limits. It reflects on the transgressive behavior required to map out secret spaces, behavior (like taking objects and trespassing just because a door has been left unlocked) that classic text adventures usually reward unproblematically. Gothic Tower depicts a mentality that is isolated and even actively antisocial, furtive, made uncomfortable by ordinary human comings and goings. From the very first room of the game, the narrator indicates this distance and alienation:

A couple of kids are sitting on a blanket nearby, pawing at each other like there’s nobody else around—and wouldn’t that be nice?

>x kids
They stare into each other’s eyes; they whisper; at intervals they kiss.

By “wouldn’t that be nice,” you didn’t mean that it would be nice to be necking outdoors in front of everyone. The thing that would be nice is the hypothetical situation in which there’s nobody else around.

>talk to kids
You mutter a hello, and the two kids look up to you with apprehensive smiles.

These themes resonate with some of Veeder’s earlier work, but are more darkly presented here. The childlike, exuberant exploration of church spaces in Robin & Orchid gives way to paranoia and anxiety; the protagonist flinches from the presence of other people, and frets anxiously about each trespassing step taken on the path to the tower. The protagonist is also, incidentally, carrying a photocopied image of a monster that might be a cockatrice or might be a basilisk, and which can destroy with a glance — a strong figure for how much the protagonist does not want either to see or to be seen by other people.

Meanwhile there’s relatively little of the humor of Veeder’s lighter work. His characteristic narrative asides remain (“By ‘wouldn’t that be nice,’ you didn’t mean…”), but they’re somewhat more caustic than in many another context.

The result is curiously melancholy. There are any number of games that offer some metacommentary on the conventions of their own genres, and within these a smaller set of IF games that explicitly call out the antisocial behavior and implicit loneliness of the traditional IF protagonist. Most of the latter are meant to be funny (Zero Sum Game requires a misbehaving protagonist to put back an inventory of stolen treasures, for instance), though Endless, Nameless arguably reflects more seriously on the kind of people who are required to make and play classic text adventures. The Ascent of the Gothic Tower takes this a step further, however. Rather than focusing on the peculiarities of the genre convention, it depicts seriously a protagonist who truly feels like a Nameless Adventurer, a person for whom the abandoned building full of locked doors and mysterious signs is not only natural but almost the only kind of setting in which they can be at rest.

IntroComp 2014: The Terrible Doubt of Appearances, Tales of the Soul Thief, Devil in the Details

IntroComp is a long-running interactive fiction competition in which authors submit the beginnings of games and invite feedback and information about whether players would like to see more.

If you would also like to vote, you have through August 15 to try the entries and rate them.

Continue reading

Transcript of Testing Discussion

Yesterday’s ifMUD discussion on testing is now available.

Following our current schedule, the next IF discussion should be Saturday, Sept. 13. I am going to be unavailable at that time, but that doesn’t mean that others cannot meet up! I am happy to hand off the baton to someone else who would like to run the session, which means picking a topic (there are some possibilities among the unused topics here, or you can propose something else of your own), then showing up on the day and MCing the conversation a bit, and finally keeping a transcript of the discussion so that it can be posted later. (You don’t have to do the transcript cleanup and posting if you don’t want to — it’s fine to email that to me and I’ll do the usual formatting work on it myself when I get back from my trip.)

Anyone wish to take that on?