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Digging For The Roots Of Interactive Storytelling
This paper is a writer's reflections on the pre-computer origins of interactive narrative. It seeks out forms of human expression dating back to prehistory that can viewed as the precursors of contemporary interactive storytelling and contemplates what can be learned from these forms that can be applied to contemporary works of interactive storytelling. The examined forms include the participatory myth-based dramas of the ancient Egyptians and Greeks; coming of age rituals in traditional societies; games that blend spiritual beliefs and athleticism; and various Judeo-Christian and pagan religious practices.
Scott Rettberg - 08.01.2013 - 11:46
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The Madeleine Effect
"The Madeleine Effect" is a digital story project, an artistic look at ways to incorporate a creative text based story in the linear format and language styling of a novel into the game world.
I believe that when a primarily text-based fiction story is created in a visual narrative medium, it can be utilized to prompt the user to act as a character. The user therefore may be guided to perform through a narrative. I am interested in looking at interactive fiction from the perspective of a writer aiming to invite meaningful interaction leading towards playful behaviors, or acting, on the part of the player.
"The Madeleine Effect" is a fiction story that is experienced through both digital and print media. The story interface aims to be interactive through the player's performance, which is demonstrated by inputting text into the story while playing a defined role. The interactivity in this project is focused at this time so as to more easily observe the ideas I am exploring. My hope is that this project will spur thought and conversation about ideas for increased interactivity and a more intelligent technical structure.
Scott Rettberg - 08.01.2013 - 16:16
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Avatars Sharing Agency: Metaphor in Interactive Narrative Environments
This paper considers how the avatar focuses the metaphor of interactivity in video games and interactive narrative environments. It argues that, despite serving as the on-screen representation of user input, the avatar has some independent agency (whether through design or representational practice) that influences its behavior. Thus, rather than merely relying upon it as her transparent stand-in, the player must negotiate with the avatar to achieve her goals. The negotiation serves to dramatize interactivity as an imperfect conduit between the textual and extra-textual worlds. While not so evident in video games, this imperfection sustains the metaphor of interactivity, deepening expressivity in interactive narrative environments.
(Source: Author's abstract, 2008 ELO Conference site)
Scott Rettberg - 08.01.2013 - 16:32
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Croatian Tales of Long Ago
Croatian Tales of Long Ago
Scott Rettberg - 08.01.2013 - 21:21
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The Machinimatic Moment
"The Machinimatic Moment" discusses a type of filmmaking that uses videogame engines (commonly referred to as machinima). I contend machinima exists within a liminal space between a number of diapoles including: production/consumption, play/cognition, and synthesis/critique. While much of machinima can be considered self-referential in that it consistently remarks upon the game itself and, in many ways, its limitations, other productions reveal sophisticated, compelling stories that are neither game nor traditional filmic narrative. I conclude by arguing that its liminality gives machinima distinctive and interesting qualities.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:41
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Skindoscope
Web-art work that focus on the poetics of alterity – the game of identity and alterity. Based on interactors’ data (skin color, name, city, country, gender, height and weight) the work creates different visual kaleidoscopes intending to cause reflection about people’s differences and similarities.
(Source: Artist's site)
The artist also produced a version of the work for Second Life, where the kaleidoscope is formed by the leaves of a tree. Each avatar who interacts creates a leaf with his/her skin color and each 10 leaves created causes the tree to produce a coin of L$ 1,00, which can be taken by any avatar who touches it.
Scott Rettberg - 10.01.2013 - 00:14
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Common Ground: One Night in a Three-story House
Common Ground: One Night in a Three-story House is the story of a poor suburban family told interactively through text.
(Source: 2002 ELO State of the Arts gallery)
A three-chapter game (with an epilogue) in which you're a different character in each chapter. The twist is that each chapter covers roughly the same space of time, and you interact with the other two characters, to varying degrees, when you're in each pair of shoes. The gameplay is a bit restrictive--the game doesn't allow for a lot of variation--but the characters themselves are well developed and the interactions feel reasonably realistic. The game even does a passable job of recording the actions you take when you're one character and playing them back when you're a different character, observing the antics of the first. Very short--20-30 minutes to play through at most--but worth playing; it largely eschews puzzles in favor of character interaction in a way that little IF attempts.
(Source: Review by Duncan Stevens, BAF's guide to the IF Archive)
Scott Rettberg - 17.01.2013 - 13:26
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Default Lives
This satirical game poem creates a small deterministic universe— a system into which a player is faced with choices, real and illusory, as they shape their “life.” Conceptually patterned after the Hasbro “Game of Life,” this hypertext version presents similar choices to its players but using an interface that lays out the general structure yet retains the element of surprise. Coverley uses this to drive home a critique of gender roles, career choices laying bare how they determine and limit one’s choices in a supposedly free and open American society. Her tongue-in-cheek tone, hokey music, prosy lines of verse, and a humorously generous ending soften the biting commentary enacted in this game, inviting readers to play, explore, and reflect.
(Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 18.01.2013 - 23:04
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Ergodic Characters
While much of the attention towards ergodic fiction has been focusing on plot (either dynamic or multiple-path), its characters still lack complexity and expressiveness. In this paper we will explore two different techniques to face this problem.
One major issue in videogames is the lack of personality in user-controlled characters. In other words, the author of a videogame cannot give a deep personality to her character, because the user will be the one who will control it. For example, you cannot design a melancholic, non-violent character, if there is a knife available in the environment. Many users would just take the knife and start a Doom-like game, turning the originally pacifist character into a serial killer. The designer can obviously prevent the user from manipulating harmful objects. However, through this arbitrary rule, users will see their freedom limited. This would also diminish the environment's coherence: why some objects can be manipulated and other cannot?
Scott Rettberg - 19.01.2013 - 13:24
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Буриме (Boutes rimes)
Буриме Игра в буриме (< франц. bouts rimés) -- старое и любимое развлечение. Заключается она в том, что все участники пишут четверостишия на заданные рифмы. Нелепость и случайность рифмы иногда высекает неожиданную мысль. А иногда не высекает. На этой странице представлена несколько модифицированная версия игры. Рифмы для сочинения будут вам выданы случайно из словаря. Чтобы было интереснее, словарь должен пополняться. Поэтому вы получите рифмы для сочинения после того, как придумаете новую рифму для словаря. Если у вас есть хорошая рифма, а сочинять не хочется, все равно внесите ее в словарь, пожалуйста. Хорошая рифма для буриме должна будить образ неожиданным сближением далеких, а лучше -- контрастных, понятий. Она может включать слова в косвенных падежах и глагольных формах, а также словосочетания. Избегайте вспомогательных, проходных слов, вроде сейчас, что, ваша, было. Воздерживайтесь от существительных в именительном падеже. Придумайте рифму и впишите ее на следующей строчке, вот так: трюизмы/круиз мы. Можно писать в КОИ или в стандартной транслитерации. Пользуйтесь словарями. / рифму и получить задание.
Natalia Fedorova - 27.01.2013 - 00:26
