Frankenstein, written by Dave Morris and implemented by inkle studios, is an iPad app retelling Mary Shelley’s original tale in a new interactive format.
Morris’ Frankenstein follows the essential plot of Shelley’s, with a couple of key deviations. Victor Frankenstein’s experiments take place in revolutionary Paris rather than at the university of Ingolstadt; the narrative frame of the original story is peeled off, so that it no longer begins with Frankenstein meeting a shipful of adventurers in the north Atlantic, and the meeting on the ice occurs only at the end.
Removing the frame gives the story a certain immediacy. Victor’s experiments are told in the present and the horror of them is more directly present than they would have been via flashback; and flashback is notoriously tricky in interactive narrative because it often makes the reader question how she can possibly be affecting events that are, from the point of view of the frame narrative, already in the past.
A Penny For My Thoughts is a short storytelling game about trauma and lost memory. The premise is that the three players are all victims of some disastrous experience that caused them to lose their memories. Thanks to a special mind-enhancing drug, they are able to access fragments of those past events — both their own and one another’s.
To begin, each player writes down on a card three visceral experiences or sense impressions: in ours, these were things like “the smell of rotting lemons” or “vertigo.” Then the players take turns rebuilding past memories for their characters. Each draws a card from the shuffled stack and says, for instance, “I remember the smell of rotting lemons.” The other two players take turns asking establishing questions, such as “Were the lemons from a lemonade stand?” and the player who is doing the recollection must — in good improv style — reply, “yes, and…”, accepting the offer and providing an additional detail of his or her own.
The Written World is a computer-mediated interactive storytelling game (additional details available here). The authors describe it as an interactive fiction MMO, but it’s also not completely unlike a library of Fiasco-style playsets.
The game provides assets — characters, character goals, possible events — embodying a story concept, but each actual experience is a two-player exchange between a Narrator player and a Hero player, a bit reminiscent of Sleep Is Death. The players participate primarily through writing, by creating descriptions of what happens next. If either of them doesn’t like what’s been done by the other, they can spend some Force to override the decision; Force is in turn earned by writing particularly compelling content. The aim of the exercise is not essentially competitive, but mediated cooperation aimed at producing an interesting story.
The Written World chief Simon Fox was kind enough to answer a few of my questions about how the mechanics work.
Periodically I check out interactive narrative projects on Kickstarter, whether they’re by people I’ve heard of before or not. Angal Tentara and The Root of All Evil is an “interactive animation” for iOS. It looks like it’s working with a fairly standard fantasy premise about a young person who has a destiny tying her back to an ancient civilization. Two things struck me about it, though. First, it comes with a backer reward consisting of a “storybook kit” with what look like some pretty nice-quality feelies:
Second, check out the video on the Kickstarter page — no, not the main video, the one a little lower down that’s titled “Story Telling 2.0″. The “you become the editor” model, with a conscious attention to the reader’s ability to expand or advance the narrative, is reminiscent of stuff the IF community sometimes talks about. Though the video is brief and doesn’t go into a lot of detail, this strikes me as a more mature/considered description of how the story is going to be interactive than I’ve found in a lot of interactive project proposals. Remains to be seen whether the project will actually deliver on that model, but hey.
Meanwhile inkle studios — the company formed by Jon Ingold and Joseph Humfrey — has just announced that it’s working on an interactive version of Frankenstein for iOS, published with Profile Books. Their press release is not so specific about the theory underlying the project (perhaps intentionally). Nonetheless, I’m keen to see what Jon and company come up with here.
Thursday night’s storygame was The Shab-al-hiri Roach, which I’ve wanted to try for ages. The premise is that the player characters are all academics striving for power and status in a small but prestigious college somewhere in New England in 1919. Introduced into their midst is an uncanny archaeological discovery, the eponymous roach, which represents a Sumerian cockroach deity of deep and sinister powers.
At any point during the game, the players can choose (or be forced) to “swallow the roach,” thereby gaining power, but also making themselves subject to the roach’s commands. These commands come from a deck of cards: during each of six acts, the players draw to discover a task they have to complete this act, with different tasks depending on whether they currently have the roach. The deck of cards can also make players possessed, or give them the opportunity to be freed from possession. No one can win while roach-possessed, so there’s a trick of allowing yourself to be possessed and then get rid of the roach again — which may or may not work.
Our play session was pretty successful from moment to moment. Having the goal from the card provided some goals for players trying to frame scenes; and there’s nothing like speaking some guttural faux-Sumerian to unlock one’s hammier acting. I had a really good time playing.
But I didn’t feel that the mechanics produced a very coherent arc story. In particular, when a player’s attempt failed (the theft of some pygmy bones from a museum, for instance), the failure was pretty final and didn’t really allow for interesting ramifications afterward; so there were a fair few storylines that were developed and then dropped again immediately, forcing players to come up with new schemes instead. Another difficulty was that the setting and situation tended to encourage a lot of the same kind of action: Player character A saying nasty things about player character B to university authority C. (Or maybe it was just us?)
Also, it was definitely the most fiddly with dice of the storygames I’ve tried so far, with each resolution requiring a certain amount of discussion between players about which dice to roll (“is this a power/status roll or not? do we think my enthusiasm for gossip counts here?” etc.).
Still. I had fun with it and want to play more, as I really liked the setting and core concept.
“Cana According to Micah” tells the story of the wedding at which Jesus performed the miracle of turning water into wine. After the jump, there’s some general discussion of the design, then spoiler space, then a couple more particulars. As always, those who want to encounter the game in total innocence should avoid reading.