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Galatea
Galatea is a work of interactive fiction set in an art gallery an undetermined amount of time in the future. The player takes on the role of an unnamed art critic examining works of personality referred to in the story as “animates.” Galatea is the name of one such animate however, unlike the other exhibits at the museum (which are forays into rudimentary artificial intelligence,) Galatea was a sculpted women who simply willed herself to life. The player must interact with Galatea through text commands until they get one of several endings.
Jill Walker Rettberg - 14.01.2011 - 12:57
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Colossal Cave Adventure
The first work of interactive fiction was Colossal Cave Adventure. Its first iteration was developed in 1975-76 by Will Crowther, a Cambridge, Massachusetts-based programmer who was part of the team that developed ARPANET, the original network infrastructure on which the Internet is based (Montfort, 1997, p. 86), and subsequently expanded by Don Woods (1977). Crowther turned his programming skills towards a game about cave exploration after his divorce in order to entertain his children when they visited him (Nelson, 2001, p. 343). Crowther had been a spelunker in his past, helping to map a network of caverns in Kentucky (Jerz, 2007). He used that experience as the basis for the network of caves described in Adventure. The game itself provided a relatively simple experience of navigation and puzzle solving. Players attempted to retrieve objects from within the cave environments, and to win by completing their collection—a kind of textual geocaching.
Jill Walker Rettberg - 18.02.2011 - 15:06
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Book and Volume
An interactive fiction written in Inform and running on the Z-Machine, Book and Volumes simulates an eventful day in a near-present factory town. The interactor is not offered adventure, monsters to defeat, or treasures to find, but a chance to perform the routine tasks of an information-technology worker. As Brian Kerr wrote, "It's about a sysadmin in the weird, charming cyber-Gotham of nTopia who spends the last working day of his/her/its life rebooting servers and reacting to frantic pages from an unseen supervisor. ('Net extremely hoseled. Engine team being hideously masticated by this outage. Demo rapidly approaching. Get to the cages. Reboot the servers. Hasten. Do not rest. Please. All five of them.') What’s the game really about? Knut, a resident of nTopia, pegs it: 'Reality. Illusion. Theme is reality versus illusion. Must discern reality. And illusion.
(Source: Author's description from the Electronic Literature Collection, volume 2)
Eric Dean Rasmussen - 08.03.2011 - 14:45
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Deadline
Deadline is a traditional detective mystery adpated to adventure game format: a mansion, a murder, and the usual suspects. It differs from the episodic paradigm of treasuer hund, bewildering maze, and tough monsters introduced by Adventure and instead confines the action to a limited space . . . with almost no hidden rooms, no mazes, less then fifteen, all human, characters (if human is the right word), and an intratextual time span of twelve hours.
(Source: Espen Aarseth, Cybertext)
Scott Rettberg - 06.09.2011 - 14:30
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Interactive Fiction Communities: From Preservation through Promotion and Beyond
The interactive fiction (IF) community has for decades been involved with the authorship, sharing, reading, and discussion of one type of electronic literature and computer game. Creating interactive fiction is a game-making and world-building activity, one that involves programming as well as writing. Playing interactive fiction typically involves typing input and receiving a textual response explaining the current situation. From the first canonical interactive fiction, the minicomputer game Adventure, the form has lived through a very successful commercial phase and is now being actively developed by individuals, worldwide, who usually share their work for free online.
Eric Dean Rasmussen - 23.03.2012 - 07:24
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Zork 1: The Great Underground Empire
The first part of the bestselling Zork trilogy, and a close descendant of Adventure, the first work of interactive fiction or text adventure game as the genre was known at the time. Zork I was Infocom's first game, and sold 378,987 copies by 1986. Similarly to Adventure, the game unfolds in a maze-like dungeon, where the user (or adventurer) must battle trolls and solve puzzles in order to find twenty trophies to bring back to the house outside which the game begins.
Jill Walker Rettberg - 26.03.2012 - 10:09
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Mystery House Taken Over
The Mystery House Advance Team has reverse engineered Mystery House, the first text-and-graphics adventure game. Members of the Advance Team have reimplemented it in a modern, cross-platform, free language for interactive fiction development, and have fashioned a kit to allow others to easily modify this early game.
Modified versions of Mystery House have been created by the elite Mystery House Occupation Force, consisting of individuals from the interactive fiction, electronic literature, and net art communities:
Scott Rettberg - 25.10.2012 - 12:16
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Living Will
To experience “Living Will,” a story-game and interactive fiction, the reader must choose to be one of the heirs of Coltan-magnate E.R. Millhouse, who has made his fortune in the Democratic Republic of Congo. While reading, the heir navigates this unique legal instrument, slowly accruing medical and legal fees, while also grabbing bequests from her fellow heirs. The piece explores the long shadow of colonialism, the conflict minerals buried in our mobile phones, and the heart of darkness of a dying imperialist seeking to extend his control beyond the grave.
Scott Rettberg - 01.12.2012 - 13:00
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Techno-historical Limits of the Interface: The Performance of Interactive Narrative Experiences
This thesis takes the position that current analyses of digitally mediated interactive experiences that include narrative elements often lack adequate consideration of the technical and historical contexts of their production.
From this position, this thesis asks the question: how is the reader/player/user's participation in interactive narrative experiences (such as hypertext fiction, interactive fiction, computer games, and electronic art) influenced by the technical and historical limitations of the interface?
In order to investigate this question, this thesis develops a single methodology from relevant media and narrative theory, in order to facilitate a comparative analysis of well known exemplars from distinct categories of digitally mediated experiences. These exemplars are the interactive fiction Adventure, the interactive art work Osmose, the hypertext fiction Afternoon, a story, and the computer/video games Myst, Doom, Half Life and Everquest.
Scott Rettberg - 13.12.2012 - 22:42
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Hors Catégorie
Hors Catégorie is an interactive fiction by Chris Calabro and David Benin developed in 2007.
It is possible to play it on almost every system, even on Smartphone.
The used Software is a z-machine Interpreter, which is a game’s requirement as the player needs it in order to emulate an Infocom machine.
It takes place entirely in a single hotel room, with several subrooms. Unlike many adventure-like interactive fictions, location, possessions, and strength are not the main obstacles of this game, but rather player knowledge and moral choices. The point is to explore the inner conflict of the protagonist and shape his character. This is why the typical presence of interactive fictions’ obstacles makes Hors Catégorie innovative and different because here they are the player moral choices.
The title of the game comes from the 'out of category' classification of difficult climbs in the Tour de France, where the game is set. The protagonist is a rider in the Tour, just waking, getting ready to take on the day's current stage.
How to play:
Scott Rettberg - 07.01.2013 - 16:24
