robertogreco + interactivefiction   77

Valdivia, Ecuador - 2100 BC
["I made a text adventure game called "Valdivia". It's about a woman on a mission, feelings and family. You can play it here: https://helena.computer/valdivia/ "

https://www.linkedin.com/in/helenajaramillo/ ]
cyoa  helenajaramillo  textadventures  games  gaming  twine  ecuador  interactivefiction  if  srg 
january 2019 by robertogreco
Welcome to Unfold Studio — Unfold Studio 0.4.1 documentation
"Unfold Studio is an online community for interactive storytelling powered by a programming language called Ink. Interactive storytelling brings together the power of programming with the ability of stories to represent and explore our lived realities. Free and open-source, Unfold Studio was developed as part of my PhD research on youth computational literacy practices.

Unfold Studio is used in schools, clubs, and by many individual writers. Interactive storytelling can be a way to integrate Computer Science into English, Social Studies, or other subjects. It can also be an excellent way to introduce Computer Science as a subject relevant to questions of identity, culture, and social justice. (We are currently doing research with a school which uses Unfold Studio for several months as part of its core CS curriculum.)

This documentation is meant for several audiences. If you need help using Unfold Studio or writing interactive stories, see the User Guide. (If you’re impatient, try the Quickstart.) If you are interested in using Unfold Studio with students, see Teaching Guide. And if you’re interested in Unfold Studio’s back story or research on transliteracies, CS education, etc. please see Research. We welcome questions, feedback, and random ideas. Please see Contact to get in touch.

The documentation is also available in PDF form in case you prefer to read it that way or want to print out any pages (such as the worksheets in the Teaching Guide section) for classroom use.

-Chris Proctor
PhD candidate, Stanford Graduate School of Education
Unfold Studio creator and lead researcher"
chrisproctor  if  interactivefiction  storytelling  ink  opensource  free  onlinetoolkit  compsci  education  identity  culture  socialjustice  unfoldstudio  transliteracies  multiliteracies  coding  programming  writing  twine  classideas  via:hayim  teaching 
october 2018 by robertogreco
The Ren'Py Visual Novel Engine
"Ren'Py is a visual novel engine – used by thousands of creators from around the world – that helps you use words, images, and sounds to tell interactive stories that run on computers and mobile devices. These can be both visual novels and life simulation games. The easy to learn script language allows anyone to efficiently write large visual novels, while its Python scripting is enough for complex simulation games.

Ren'Py is open source and free for commercial use.

Ren'Py has been used to create over 1,500 visual novels, games, and other works. You can find them at the official Ren'Py Games List, and the list of Games made with Ren'Py on itch.io."
games  gaming  gamedesign  design  ren'py  visualnovels  if  interactivefiction  lifesimulation  software  mac  osx  linux  chromeos  chrome  android  ios  applications  windows  gamemaking  classideas  writing  multiliteracies  opensource  onlinetoolkit  storytelling 
september 2018 by robertogreco
Introduction to Electronic Literature: UCLA 2017: ENGL 116B
"Prof. Daniel Scott Snelson: danny.snelson@gmail.com | http://dss-edit.com
Course URL: http://dsnelson.bol.ucla.edu/~elit/2017.html
Wiki: http://dss-edit.com/elit/wiki

UCLA, Fall Quarter 2017
Room: Royce Hall 160 | Meeting Times: TuTh 2:00–3:50
Office: 203 Humanities | Office Hours: TuTh 4:00–5:00

Abstract: We might begin by asking, what is not electronic literature today? Rather than introduce electronic literature or “e-lit” as a distinct literary category, this course wonders if it’s still possible to consider literature beyond the electronic circuits that characterize the networked present. The creation and study of literature today is facilitated by a range of digital formats and networked consoles, each of which introduce new practices of production, circulation, reception, and reading. Alongside these transformations, we’ll explore a range of new literary genres inhabiting, for example, computer scripts, image macros, flash movies, social media, bandcamp releases, interactive applications, and print on demand books. Thinking through the present, this introduction examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent internet publications, we’ll track the development of literature under the influence of computation up to works published in the present, as they emerge throughout the quarter. In lockstep, the course considers the category of “electronic literature” as a way to think about historical works remediated to the internet, in a wide range of (post-)digital formats. The course requires short weekly responses in an open format, as well as a mid-term and final assignment, which may be critical or creative in form, developed in conversation with the instructor. No previous experience in programming, poetry, or literature is required."

[See also: https://eliterature.org/pad/elp.html ]
literature  electronicliterature  e-literature  interactivefiction  if  danielscottsnelson  twine  poetry  poetics  digital  digitalhumanities 
august 2018 by robertogreco
standardized testing: the game
[via https://twitter.com/scumbling/status/1017793272662581249 (via Allen https://twitter.com/tealtan/status/1017797863542284288 ):

I made something.

Here's a prototype for my interactive zine:

😭 STANDARDIZED TESTING: THE GAME (A NARRATIVE) (THE PROTOTYPE)

i think you'll have a feeling (at least a short one)

i hope it starts conversations about ethnicity & culture

please share!

http://goingtocollege.club/ ]
via:tealtan  education  highereducation  highered  bias  ethnicity  culture  standardizedtesting  standardization  testing  exclusion  inclusion  inclusivity  games  gaming  interactivefiction  twine 
july 2018 by robertogreco
These Hand-Drawn Maps Helped Create 'Choose Your Own Adventure' Books - Atlas Obscura
"When Jay Leibold started writing Choose Your Own Adventure books in the 1980s, no one told him exactly how to create a branching story with a passel of different endings. “It was a seat-of-the-pants, use-your-intuition kind of thing,” he says.

As the story developed, dividing along different branches, Leibold would map its shape on 8 1/2-by-11-inch pages. One page, two pages, then a branching choice. “There was lots of erasing, crossing out, trying again,” he says. As the story grew and the first half became more settled, though, a standard, letter-sized piece of paper wasn’t large enough to hold the whole map of the story. Eventually, he had to tape two large pieces of paper board together in order to hold it.

After reading Atlas Obscura’s story about maps that reveal the hidden structure of Choose Your Own Adventure stories created by the publisher ChooseCo, Leibold sent us images of the original, hand-drawn maps he used to create some of his CYOA books. Here’s the final map of Sabotage, the first book Leibold contributed to the series:

[map]

Sabotage had 30 possible endings. “It was so challenging, and it really did feel pretty great to have it finished and take it in all at once, on one chart,” he says.

Leibold would eventually write 15 Choose Your Own Adventure books, and each time he developed a better feel for how to shape the story, he says. Each branch, for instance, could not divide into many choices. Some had to come to an end relatively quickly. “We had the idea that there should be a choice on nearly every page,” says Leibold. “It was never dictated but I think that’s the feeling we all had.”

[image]

Building in so many choices to the story meant enough action had to be condensed in between each branching point. One challenge was telling enough story in between each branching point that the next choice still felt meaningful; another was building enough material into each storyline so that each different ending felt satisfying. “Part of the game for me was for the reader to find the story lines that went on the longest,” he says.

One way to make story lines last longer was to allow some of them to loop back to an earlier moment in the book. The challenge, though, was making what came next consistent with both paths that led there. Leibold also experimented with stories with fewer choices. One of his books, Surf Monkeys, has the fewest endings of any book in the series. Even when a story had a certain linear progression built into it, though, say when a plot revolved around a journey, it was possible to branch off in many directions. For the book Grand Canyon Odyssey, Leibold created stories that brought in geology, dinosaurs, and Native America tribes, and he found it helpful to map both the geography of the trip through the canyon (top image) and the structure of the story (below).

[map]

Having fewer choices, he says, “put pressure on the choices to feel really meaningful. When you’re doing a choice every page or two, sometimes you just scramble—you have to come up with some kind of choice. Not that much has happened. Sometimes the choices were more mundane or seemingly trivial, even though they might lead to very different consequences.” With fewer choices, each one could be a bigger, more weighty decision.

“Maybe the best way to describe writing these books is that it’s a real juggling act,” says Leibold. “You’re juggling storylines and possibilities. The number of pages and space. The choices and branches and how do they balance out. It’s like three different dimensions of things that you’re juggling. It requires a certain flexibility of mind.” Having a map to keep the whole picture in one place helps all those pieces stay in the air, tumbling and flying into graceful, shifting stories."
maps  mapping  cyoa  interactivefiction  2017  via:austinkleon  if  classideas 
july 2017 by robertogreco
These Maps Reveal the Hidden Structures of 'Choose Your Own Adventure' Books - Atlas Obscura
"Reading a “Choose Your Own Adventure” book can feel like being lost in a maze and running through twists and turns only to find dead ends, switchbacks, and disappointment. In the books—for those not familiar with them—you read until you come to a decision point, which prompts you to flip to another page, backward or forward. The early books in the series, which began in 1979, have dozens of endings, reached through branching storylines so complex that that trying to keep track of your path can seem hopeless—no matter how many fingers you stick into the book in order to find your way back to the key, fateful choice. You might end up back at an early fork again, surprised at how far you traveled only to reemerge at a simple decision, weighted with consequences that you couldn’t have imagined at the beginning.

The last installment of the original “Choose Your Own Adventure” series came out in 1998, but since 2004, Chooseco, founded by one of the series’ original authors, R.A. Montgomery, has been republishing classic volumes, as well as new riffs on the form of interactive fiction that seemed ubiquitous in the 1980s and ’90s. The new editions also carry an additional feature—maps of the hidden structure of each book."
cyoa  visualization  2017  maps  mapping  classideas  interactivefiction  if 
june 2017 by robertogreco
Twine Texting Project by shindigs
"A presentation layer for Twine 1.4x that allows you to tell stories through text conversations. Built on top of Jonah. Download to access the commented project file.

Please tweet me @shindags with any questions, suggestions, and especially if you made something with this asset!

Development was streamed on www.twitch.tv/shindigs "
twine  chat  2017  webdev  cyoa  texting  messaging  if  interactivefiction  webdesign 
april 2017 by robertogreco
Twine as a Process Modeling Tool – Track Changes
"Twine is a tool that lets you make point-and-click games that run in a web browser—what a lot of people refer to as “choose your own adventure” or CYOA games.

It’s pretty easy to make a game, which means that the Twine community is fairly big and diverse. You can play the games in your web browser, and compose them in a browser, too. Or download an app.

I tried Twine years ago and never really got anywhere, but out of idle curiosity I started to play with it again not long ago, with the idea that I’d make a little game that simulated what it’s like to work with Postlight. I.e.—

You step out of an elevator. Do you want to talk about

1. Working with us as a client?

2. Working with us as a team member?

As silly as it sounds it was fun to model the office out as a game. After an hour of messing around I’d modeled out the elevator (click a button!) and put in some basic scoring, and started to create some fake conversations between the player/reader and “characters” that included myself and my business partner Rich Ziade. Just what the world needs—a meeting simulator! If I ever finish it I’ll put it up online.

There are a lot of tools that you can use to do information architecture and to sketch out processes. Visio, PowerPoint, Keynote, or Omnigraffle, for example. In the programming world, some people use UML tools to draw pictures of how a program should operate, and then turn that into code, and a new breed of product prototyping apps are blurring the line between design and code, too. But it has always bummed me out that when you draw a picture on a computer it is, for the most part, just a picture. Why doesn’t the computer make sense of those boxes and arrows for you? Why is it so hard to turn a picture of a web product into a little, functional website?

This is a huge topic — why are most digital documents not presented as dynamic programs? (One good recent exploration of the subject is Bret Victor’s “Up and Down the Ladder of Abstraction.”) And in some ways the Twine interface is a very honest testing and prototyping environment, because it is so good at modeling choices (as in, choose your own adventure). Playing around, I made a little “game” about writing this newsletter. It took twenty minutes and is not serious—yet it made me think about schedules, information sources, my tendencies toward distraction, and the overall processes. It started as a joke but was an actually productive half-hour. I can see lots of ways to model social and business processes using the friendly, easy-to-use, and open-sourced Twine system. That the end result is a game shouldn’t distract you from the fact that the software is free and the exercise was useful."
twine  cyoa  prototyping  paulford  games  interactivefiction  speculativefiction  productmanagement  infoarchitecture  gaming  play  2016  if 
september 2016 by robertogreco
SYNONYMS FOR CHURLISH by Megan Vaughan - Whether you whine or twine He shake it up, right...
"Whether you whine or twine
He shake it up, right on time

I’ve had a go at reviewing The Privileged by Jamal Harewood in Twine because, frankly, I’ve no idea how else to even begin talking about a show so totally rattling.

Apols that it’s just got the default formatting on it. CSS coding is like ?????? to me. (That Facebook blue gets fucking everywhere these days innit.)

Have a go here [https://dl.dropboxusercontent.com/u/41115788/The%20Privileged.html ], and please shout if anything doesn’t work, or there are typos. My campaign to bring spellcheck to Twine starts now."
twine  via:tealtan  meganvaughan  jamalharewood  reviews  if  interactivefiction  theater  performance  gaming  theprivileged 
january 2016 by robertogreco
Final Port-ject | Electronic Literature
[More on the course here: http://courses.digitaldavidson.net/dig220/about/
and http://courses.digitaldavidson.net/dig220/ ]

"Overview
The final project is a “port”—a kind of translation—of a work of electronic literature from one platform to another, not necessarily digital, platform. The process of porting forces one to define the “essence” of a work, and also reveals a great deal about the affordances of technology. The final project is due at the Digital Project Showcase, December 9, 3:30-5pm in the Lilly Gallery.

Rationale
Adapting a program from one hardware system to another is “porting,” a term derived from the Classical Latin portare—to carry or bear, not unlike the carrying across (trans + latus) of translation. A port is borne from one platform to another, and the bearer is the programmer or designer, who attempts to preserve the program’s essential properties from one platform to the next.

A translator faces the same challenges. Think about the questions that arise when translating a poem. Where does the poetry of the poem lie? Where is its poemness? In its rhythm? Its rhyme? Its diction? Its layout? Its constraints? Its meanings? Which of these must be carried over from one language to another in order to produce the most faithful translation?

In Nineteen Ways of Looking at Wang Wei (1987), a study of the act and art of translation, Eliot Weinberger reads nineteen different translations of a four-line, 1,200-year-old poem by the Chinese master Wang Wei, attentive to the way translators have reinterpreted the poem over the centuries, even as they attempted to be faithful to the original. With a single word, a translator may create a perspective unseen in Wei’s original, radically shift the mood of the poem, or transform it into complete tripe. Many times these changes come about as the translator tries to improve the original in some way. Yet translation, Weinberger writes, ought to be “dependent on the dissolution of the translator’s ego: an absolute humility toward the text” (17).

We who port face similar challenges. What must be preserved when a work of electronic literature is carried across to a new platform: the work’s interface? Its narrative or themes? Its interactivity? Its aesthetic design? The underlying algorithms? The constraints of the original? And should the port try to improve upon the original? Or perhaps “break” the original, by exposing its insides? Where does our humility come into play? The ethos of adaptation will vary from port to port and writer to writer; what you choose to prioritize will help to determine the qualities of the final port and its relationship to the original program.

Getting Started
As you work on your port, think about your source material in terms of the elements of digital literature we’ve studied: data, process, surface, interaction, context. Any of these elements might be “portable”—the aspect of the work you focus on transforming into another platform. Also think about how the rules of notice and signification come into play with the source work, and how those rules might be transformed in the new medium.

Another way to approach the port is to focus on the seemingly most essential digital affordances of the work and turn them into something else, even their opposites. For example, if the source offers a relatively straightforward narrative, turn it into a wiki. Or if the work focuses heavily on images, render that textually. Or vice-versa.

I encourage you to review your private sketchbook for ideas. Also reread the public sketchbooks. There may be something buried there, some seed of an idea that could blossom into a compelling project.

Finally: be bold. Unlike Weinberger, I believe you can have “absolute humility toward the text” while at the same time producing something radically different from the text.

Tools and Platforms
• Twine
• Mediawiki (installable on your domain through the cPanel)
• Google Maps
• Timelines
• Storymaps
• Scratch
This list will continue to grow as I add add more possibilities!

Timeline
• Thursday, November 19: Proposal due (includes name of source work, medium of the port, and a project work plan)
• Thursday, December 3: Minimally Viable Port (MVP) due
• Wednesday, December 9: Final version due at the the Digital Project showcase, with the statement and reflection due by midnight on the same day

Project Statement and Reflection
In an addition to the port itself, you must write a project statement and reflection of 1,500-2,000 words. In this document you’ll reflect on the choices you made, what your port reveals about the original, and what you learned about the process of porting. Use the statement and reflection to address the criteria below that aren’t self-evident in the port itself. The best demonstrations of your project’s engagement with the themes of this course will be explicit analyses of and connections to various readings, theories, and material from the class (e.g. affordances, five elements of digital literature, properties of digital media environments, etc.)

Evaluation
The port will be assessed according to the following criteria:

• Essence (the degree to which your port captures the source’s essence, however you define that)
• Insight (the extent to which you uncover and articulate surprises and insights about the source material through the porting process)
• Craft (the degree of mastery of the mode of composition or representation of the port)
• Intention (the sense of intentionality and deliberateness of the work)
• Theme (the level of engagement with ideas from this class and its online counterpart)
• Synthesis (the way you mobilize both your port and the original material to make some broader hypothesis or claim that matters)

Suggested Sources
• The works of Dreaming Methods
• The works of Jason Nelson
• The works of Christine Wilks
• The works of Alan Bigelow
• The works of Kate Pullinger
• Pieces from the first and second volumes of the Electronic Literature Collection
• Works in the ELMCIP Knowledge Base
• Works in the Pathfinders project
• Works in the Interactive Fiction Database"
classideas  marksample  eliterature  electronicliterature  if  interactivefiction  writing  literature  classes  digitalhumanities  twine  scratch  mediawiki  googlemaps 
december 2015 by robertogreco
Haiti
"Four years after the earthquake, how is Haiti rebuilding itself? If you were part of the process, would you be able to make the right choices? Find out with this multimedia interactive story."
via:senongo  cyoa  haiti  interactive  history  if  interactivefiction 
september 2015 by robertogreco
Playing games in the digital library | Wellcome Collection Blog
"So we asked three games designers to approach our collections using Twine, a popular tool for games and interactive fiction. Twine offers an experience like a story where you get to make decisions: click on the highlighted text to move through. Sometimes there are many choices, sometimes just one; each choice will take you somewhere new on the journey towards the game’s end."

[via: https://twitter.com/tealtan/status/633071370642006019 ]
games  gaming  libraries  via:tealtan  twine  interactivefiction  if  museums  classideas  cyoa  archives  classiseas  glvo  edg  srg 
august 2015 by robertogreco
laika
[via: http://forestambassador.com/post/118114779683/space-adventure-laika-is-a-game-about-a-dog-by

"Space Adventure Laika is a game about a dog by Misty De Meo.

Play Online

Why Try It: An intense, difficult story about the life of Laika based in historical truth.

Mood: Sad

Author’s Notes: “Space Adventure Laika is a game about a small dog who is going to die.” (read more)

You Might Also Like: Sputnik Dog Simulator, Dog Petting Sim"]
laika  games  twine  interactivefiction  srg  edg  gaming  history  space  mistydemeo  senses  if 
may 2015 by robertogreco
80 Days at GDC (with images, tweets) · laurajnash · Storify
"Recaps and Livetweets of Meg Jayanth's (@betterthemask) presentation."

Taking Risks

"On #80Days, @betterthemask: "my job was to tempt players into making bad choices." Oh, and also writing those 500,000 words ;)

.@betterthemask: "our goal was to teach players that making a bad strategic decision can lead to a better story" omg I'm in love

.@betterthemask talking about tricking players into making foolish decisions "because it's more fun winning by the skin of your teeth"

"It's the near-misses, the catastrophes, the daring escapes that players remember." This 100%. via @betterthemask http://www.gamasutra.com/view/news/237810/Narrative_and_design_insights_from_80_Days_writing_lead

The Dark Stuff

.@betterthemask: Don't avoid sensitive topics, but do think ethically and politically about what you're saying. #GDC2015

.@betterthemask: Slave-catching expedition is not a mechanics punishment. It's a narrative consequence for a narrative decision. #GDC2015

.@betterthemask: 80 Days deliberately deconstructs the classism, racism, and sexism of Verne's novel and steampunk in general. #GDC2015

Playing the Sidekick

.@betterthemask: The world of 80 Days turns, but it doesn't turn around you. Not being the most important person is liberating. #GDC2015

I liked the idea of the world not revolving around the main characters in the 80 days talk #GDC

Props to @betterthemask for that - playing as a minor hero was a refreshing bit of humility from the god complex of too many games n gamers.

Romance

.@betterthemask: Romances in 80 Days are important to players, but those narratives are unpredictable. Can't game the romance. #GDC2015

#gdc .@betterthemask on the value of romances that aren't skill checked and cannot be gamed

Behind-the-Scenes

I love @betterthemask’s description of approaching 80 Days as “a machine for telling stories”.

It's about READING #gosh #gasp @betterthemask

"Talking about mechanics and narrative as oppositional completely misses the point."
#80Days
- @betterthemask

@betterthemask, wonderful talk about building a strong narrative foundation while embracing constraints and collaboration. #GDC2015

On getting lost in research - 80-90% of the research @betterthemask did never made it into the game; rabbit-holes not avoided on 80 Days.

.@betterthemask: In games, you have to create your own editing process. Find a first reader & redraft. Protect redrafting time. #GDC2015

Writers: think ethically about your game writing, what you leave out is as critical as what you put in. seek criticism- @betterthemask

.@betterthemask: Hire writers early and involve them in the process! (I couldn't agree more.) Use each other's strengths. #GDC2015

.@betterthemask: Make efficient design choices; figure out how to be as lazy as possible. It's a necessity. #GDC2015

Things I didn't know about 80 Days:

.@betterthemask: 80 Days has more text than the LOTR trilogy (but not as much as the first five ASOIAF books). :) #GDC2015

.@betterthemask: Europe is all introductory. Asia adds complexity. Americas ramps up the tension. #GDC2015

So it turns out you can die tragically in @betterthemask's 80 days. Kinda stunned here http://www.inklestudios.com/80days/journeys/?id=7qwvUJqmv4&playerName=@john_brindle

Recaps

Narrative and design insights from 80 Days' writing lead
http://www.gamasutra.com/view/news/237810/Narrative_and_design_insights_from_80_Days_writing_lead.php

ICYMI @_shortgame on 80 Days, we pile on praise, mock “evocative”, fail at French and hype camels, drag, romance… http://www.theshortgame.net/36-80-days/ "
via:robinsloan  80days  games  gamedesign  videogames  gamedev  gaming  storytelling  writing  megjayanth  edg  srg  research  process  howwework  reading  howweread  text  interactivefiction  collaboration  constraints  tension  complexity  gamedevelopment  if 
march 2015 by robertogreco
Carolyn VanEseltine - This is a Real Thing that Happened
"A work of interactive fiction.

This is a Real Thing that Happened was created with Inform and has IFID 018D8F92-81E4-476A-B184-C14D9C821F45. To play a work like this one, you need an interpreter program: many are available, among them Zoom for Mac OS X and for Unix; Windows Frotz or Windows Glulxe for Windows. Or you can play without downloading anything by following the 'Play In-Browser' link, using the Quixe interpreter. You'll need to have Javascript enabled on your web browser."

[Play in browser: http://www.sibylmoon.com/if/realthing/release/play.html ]
interactivefiction  via:robinsloan  if  carolynvaneseltine  inform7  inform  srg  games  gaming  winning  losing  play  dwarffortress  rules  2014 
february 2015 by robertogreco
Twine, the Video-Game Technology for All - NYTimes.com
"One of the most prominent and critically acclaimed Twine games has been Howling Dogs, a haunting meditation about trauma and escapism produced in 2012 by a woman named Porpentine. The gameplay begins in a claustrophobic metal room bathed in fluorescent light. Although you can’t leave, you can “escape” once a day by donning a pair of virtual-­reality goggles. Each time, you’re launched into a strange and lavishly described new world where you play a different role: a doomed young empress learning the art of dying; a scribe trying to capture the beauty of a garden in words; a Joan of Arc-like figure waiting to be burned on a pyre. And each time you return to the metal room, it’s a little dirtier and a little more dilapidated — the world around you slowly decomposing as you try to disappear into a virtual one.

“When you have trauma,” Porpentine says, “everything shrinks to this little dark room.” While the immersive glow of a digital screen can offer a temporary balm, “you can’t stay stuck on the things that help you deal with trauma when it’s happening. You have to move on. You have to leave the dark room, or you’ll stay stunted.”

When I first met Porpentine outside a coffee shop in Oakland, Calif., she was wearing a skirt and patterned knee socks, her strawberry blond hair pulled back in a small plastic barrette. We decided to head to a nearby park, and as we walked across the grass, she pivoted on one foot — an instant, unconscious gesture — and did a quick little spin in the sunshine. When we arrived at a park bench, one of the first things we talked about was trash, because her Twine games teem with it: garbage, slime and sludge, pooling and oozing through dystopian landscapes peopled by cyborgs, insectoid empresses and deadly angels. In Howling Dogs, the trash piles up sticky and slow; in other games, like All I Want Is for All of My Friends to Become Insanely Powerful, tar floods the room suddenly from an indistinct source. Forget pretty things, valuable things: Porpentine’s games are far more interested in what society discards as worthless."



"Many people describe a sort of catharsis that they feel when they play Porpentine’s games. There’s a sudden sense of relief that something important but taboo has finally been acknowledged in a game, and perhaps has left them feeling less alone in the process. So many mainstream games are power fantasies, designed to deliver the bliss of limitless violence. Porpentine’s games tend to be poetic meditations on the scars that violence leaves behind, beautiful but claustrophobic landscapes that thrust players into positions of powerlessness and challenge them to work their way out."



"“The amount of people who have access to the engineering education required to be in programming is very, very small,” says Anna Anthropy, a game developer whose book “Rise of the Videogame Zinesters” helped put Twine on the map in 2012. “And even within that, there are a lot of ways that people are filtered out by the culture.” Anthropy has taught Twine workshops to everyone from 9-year-olds to 70-something retirees who had never played a video game in their lives, and she says they picked it up with equal ease. “If you’re someone who hasn’t played a lot of video games and you’re handed this tool where all you need to do is write, maybe you’re just going to write something about you,” she says. “Maybe you’re going to write something about your pet. There’s no reason you have to create something that’s about space marines.”

The beauty of Twine is that you can make games about almost anything. Over the last several years, it has also been used to create a memorial to a dead brother, a cannibal dating simulator, a 50,000-word interactive horror tale about being trapped in a spacecraft with a lethal alien. One of Anthropy’s most moving Twine games, Queers in Love at the End of the World, lasts only 10 seconds. The moment it begins, a timer starts counting down to an unspecified apocalypse; that’s all the time you have to say goodbye to your lover before the world disappears. There’s a poignant desperation in the brief experience that cuts to the heart of grief — the sense that you simply didn’t have enough time with the person you loved. Rather than offering closure, the game leaves you empty and aching by design."
porpentine  games  gaming  interactivefiction  videogames  twine  2014  laurahudson  annaanthropy  suicide  death  margins  if 
november 2014 by robertogreco
Smart Stories: Matt Adams (Future of StoryTelling 2014) on Vimeo
"Artist Matt Adams’s work playfully explores the storytelling potential of new technologies. His present fascination is big data. How will stories be influenced by our ability to learn personal details about our audiences? What are the limits of personalization?"

[Also on YouTube: https://www.youtube.com/watch?v=JxxEy78EqYI ]

[See also: http://www.blasttheory.co.uk/news-item/matt-adams-will-be-speaking-at-the-fost-summit/
http://www.blasttheory.co.uk/?wysija-page=1&controller=email&action=view&email_id=53&wysijap=subscriptions&user_id=5691 ]
mattadams  storytelling  technology  blastheory  her  karen  data  bigdata  mobile  2014  interactivefiction  games  play  gaming  personalization  culture  psychology  interactive  if 
october 2014 by robertogreco
Stories You Can Win: Margaret Robertson for the Future of StoryTelling 2012 on Vimeo
"Games have always needed stories, says celebrated game designer Margaret Robertson. For many, the first ever videogame was 1962's Space War. It couldn't have been simpler to look at: startlingly abstract wireframes only. Space War could hardly be a smaller story, but it allowed players to make sense of the abstract shapes, of the strange new interaction unfolding before them. And from that point on, games have consistently chased a richer relationship with stories. Technology has always made that hard, though. There were great stories in early games, but ones that you had to sip through the thinnest of straws. Everything we take for granted in other mediums of storytelling was brutally rationed in early gaming.

But now we've beaten those constraints. Modern games have scripts tens of thousands of pages long. They record tens of thousands of lines of dialogue and display perfectly lifelike facial expressions and body movement. Natural language conversations are becoming possible with artificial characters. Some game developers even consider that the artificial creations they make can be meaningfully said to be alive. So does that mean we've cracked story? Not quite. Story is hard. Story is fragile. Story is expensive. Players chew through it fast, and expect it to be endlessly responsive to their actions. Writing one good straight story is hard enough at the best of times. Producing one that's expected to last twenty times as long as most feature films and have a hundred credible endings is next to impossible.

So how do we fix that problem? We fix it by letting games work their own particular magic. Games are engines for making stories. Their rule sets and objectives are mechanisms that engender the things that drive stories—courage, failure, shame, greed, sacrifice, surprise—and gives them context and structure. If you build a captivating world and give players interesting rules, then they'll tell a thousand stories for you. And we fix it by letting games go free range. Whereas you needed to gather round a monolithic PDP-1 to play Space War, now most of us carry one computer in our pocket and another in our backpack. Games are leaking out on to our streets and our parks and our campuses and our beaches, and there is enormous potential to use those environments to tell new kinds of stories. This is what excites Robertson the most as a game designer: being able to give players a stage from which they can start to tell their own stories."
games  videogames  storytelling  2012  gaming  history  margaretrobinson  technology  cyoa  passage  jasonrohrer  spacewar  augmentedreality  play  arg  srg  if  interactivefiction  ar 
september 2014 by robertogreco
Depression Quest: An Interactive (non)Fiction About Living with Depression
"Depression Quest is an interactive fiction game where you play as someone living with depression. You are given a series of everyday life events and have to attempt to manage your illness, relationships, job, and possible treatment. This game aims to show other sufferers of depression that they are not alone in their feelings, and to illustrate to people who may not understand the illness the depths of what it can do to people.



Depression Quest is a game that deals with living with depression in a very literal way. This game is not meant to be a fun or lighthearted experience. If you are currently suffering from the illness and are easily triggered, please be aware that this game uses stark depictions of people in very dark places. If you are suicidal, please stop playing this game and visit this link to talk to someone.

The goal of this game is twofold: firstly, we want to illustrate as clearly as possible what depression is like, so that it may be better understood by people without depression. Hopefully this can be something to spread awareness and fight against the social stigma and misunderstandings that depression sufferers face. Secondly, our hope is that in presenting as real a simulation of depression as possible, other sufferers will come to know that they aren't alone, and hopefully derive some measure of comfort from that.

It goes without saying that because of the very nature of depression, it is experienced differently by every person who suffers from it. We aren't trying to say that this is the "best" or "most accurate" representation, merely that this is an amalgamation of the experiences of the developers and several people close to them. Many of the following encounters deal with issues such as therapy, medication, handling a love life, and reaching out to support networks. In reality, less than half of depression sufferers actually seek treatment, for reasons such as lack of money, perceived personal failing, or public stigma. These things were included in order to touch upon as broad a range as possible, since all these elements can be very important to sufferers of depression, though they will likely not be the experiences of most sufferers.

It's important to recognize that not everyone with depression is so lucky. Many people with the illness don't have a lot of the luxuries that we have in this game. We've written it this way so that we can focus specifically on the illness, which becomes more and more difficult to deal with as the person who has it is less and less well-off."
depression  games  gaming  via:chrisberthelsen  interactivefiction  seriousgames  if 
august 2014 by robertogreco
inklewriter
"At inkle, we believe it takes great writers to tell great stories.
That’s why we’ve created inklewriter, to help writers tell interactive tales with the minimum of fuss. inklewriter keeps your branching story organised, so you can concentrate on what’s important – the writing.

inklewriter is a free tool designed to allow anyone to write and publish interactive stories. It’s perfect for writers who want to try out interactivity, but also for teachers and students looking to mix computer skills and creative writing."



"Education

inkle is looking to bring interactive stories to the classroom, and give teachers free and simple get-stuck-right-in software to use with their students. From within a web-browser, the inklewriter will let students make and play interactive stories with no programming required.
Why make stories interactive anyway?

The way our stories work is simple: the reader is given the text of a story in a small chunks, and after each, they get to make a decision about what happens next. That could be what a character says, or does - but it could also be a deeper choice, like why a character has done what they've done, or how they feel about something else in the story. Every decision the reader makes is remembered and has the potential to influence things later on - depending on how the author wants to tell their tale.

Our first project, Frankenstein, uses interactivity to explore the different facets of Mary Shelley's original novel - allowing the reader to discover different aspects of the world, follow up hints and allusions in the text, and maybe even take some narrative paths that Shelley herself considered.

How can students get involved?
In the classroom, interactive writing offers an innovative, fun environment in which to write stories. It teaches creativity, language, computer skills and logical thinking - all at the same time!

So we've made inklewriter: a simple, easy-to-use app for writing simple interactive stories. It works in a web browser so there's no setup and no installation. Just click on the link and start writing. Students will be able to save their work and test it without fuss.

Oh, and it's all free.

With a few clicks and a bit of imagination, anyone can start to tell a branching story - and with a bit more thought, they can harness the power of conditional logic to make their stories more intricate and rewarding."
interactivefiction  storytelling  tools  writing  srg  edg  inkle  ebooks  epublishing  games  gaming  inklewriter  if 
august 2014 by robertogreco
inkle - Sorcery!
"An epic interactive fantasy adventure through a weird world of magic.

Steve Jackson's Sorcery! is a four-part fantasy adventure like never before. With tens of thousands of choices, the story rewrites itself around your actions. Battle weird and deadly creatures, cast powerful spells, play with honour, or lie, cheat and steal. The fate of the land of Kakhabad is in your hands!

Sorcery! was a Game of the Year finalist for TouchArcade, Mashable, Gamezebo.

Parts 1 and 2 are available now for iPhone, iPad and iPod Touch, and are coming soon to Android."

[See also: https://itunes.apple.com/us/app/sorcery!/id627879091
and https://itunes.apple.com/us/app/sorcery!-2/id627880433 ]

[via: http://killscreendaily.com/articles/80-days-alternate-reality-anti-colonialism-adventure-we-all-deserve/ ]
inkle  interactivefiction  android  ios  iphone  ipad  games  gaming  videogames  edg  srg  if 
august 2014 by robertogreco
80 Days on the App Store on iTunes
[See also: "80 Days Is the Alternate-Reality, Anti-Colonialism Adventure We All Deserve"
http://killscreendaily.com/articles/80-days-alternate-reality-anti-colonialism-adventure-we-all-deserve/

and http://www.inklestudios.com/80days/ ]

"1872, with a steampunk twist. Phileas Fogg has wagered he can circumnavigate the world in just eighty days. Choose your own route around a 3D globe, travelling by airship, submarine, mechanical camel, steam-train and more, racing other players and a clock that never stops.

* "For people who love high adventures and good writing, 80 Days is a voyage that must be taken" - The Verge
* "Interactive storytelling as its best" - The Guardian
* "A brilliantly paced, memorable and quite frankly terrific piece of modern interactive fiction, that masterfully blends strategy, resource management and adventure" - IndieGames.com
* "one of the best iOS games of the year." - iLounge

150 cities to explore. Detailed research and techno-fantasy combine in an 1872 of tensions, inventions and exploration. Climb the Burmese mountains, trek the Zulu Federation, sail up the Amazon and disappear under the Indian Ocean - but don't fall behind the time!

* "Could be the best interactive fiction game out there" - 148 Apps
* "A sublime video game to immerse yourself in" - The Examiner
* "One of the most extraordinarily memorable and unique games I’ve played in years" - Pocket Tactics
* "Everything about this game is perfect" - AppAdvice
* "Innovative and extraordinary, and unpredictable fun" - Apps Zoom
* "Rich with ideas, brilliantly written, and creates a world that you'll want to visit over and over again" - PocketGamer (gold award)

Featuring stunning art by Jaume Illustration, a half-million word script by Meg Jayanth, original music by Laurence Chapman, and built using the same inklewriter engine that powers our critically-acclaimed Sorcery! series, 80 DAYS is an interactive adventure created by your choices, on the fly, and is different every time you play.

Playing as Phileas Fogg's loyal valet, Passepartout, you must balance your master's health, your finances, and the time, as you choose your own path from city to city all the way around the world. Bribe your way onto early departures, but don't let yourself go bankrupt or you'll be sleeping rough and begging for aid! Trade items for profit, and collect the equipment for the conditions you'll face: but too much luggage will slow you down...

80 DAYS is a breakneck race, with an in-game clock that never stops running. Trains, steamers, hot-air balloons, boats, camels, horses and more leave and arrive minute by minute.

Every city and journey is narrated via an interactive story where you control every action. Will your choices speed you up - or lead you into disaster? Will you earn Fogg's trust and respect? Will you uncover the secrets and short-cuts that can shave days off your time? Murder, romance, rebellion and intrigue await!

The app is network-connected, with a live feed that shows you the position of all the other players of the game, their routes, triumphs and disasters. You can race to be the fastest - or look ahead to learn the secrets of the world.

Share your own journey with friends, and load other's routes directly into your app so you can race head-to-head.

80 DAYS is a complete experience, with no in-app purchases, and was made by a core team of just four people. If you enjoy it, please leave a rating, and check out our Sorcery! series."
iphone  ios  games  ipad  phileasfogg  interactivefiction  srg  edg  toplay  megjayanth  laurencechapman  inklewriter  aroundtheworldin80days  julesverne  gaming  videogames  if 
august 2014 by robertogreco
Kitsune : What would a game look like if it were designed to...
"What would a game look like if it were designed to encourage a process of reader engagement that consists of coming up with a narrative hypothesis and then testing it? If the discovery of layers of meaning and personhood were achieved through play?"
— 

Reading and Hypothesis | Emily Short’s Interactive Storytelling [http://emshort.wordpress.com/2014/01/09/reading-and-hypothesis/ ]

"I really like the idea of hypothetical reading as basis for interactive storytelling. It should matter what theories players come up with about the backstory that is gradually revealed. They should be able to act on it."
reading  hypothesis  hypotheticalreading  storytelling  karsalfrink  2014  emilyshort  interactivestorytelling  interactive  interactivefiction  games  gaming  play  theorizing  if 
january 2014 by robertogreco
Electronic Literature Organization
"To facilitate and promote the writing, publishing, and reading of literature in electronic media."

"Electronic literature, or e-lit, refers to works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer. Within the broad category of electronic literature are several forms and threads of practice, some of which are:

• Hypertext fiction and poetry, on and off the Web
• Kinetic poetry presented in Flash and using other platforms
• Computer art installations which ask viewers to read them or otherwise have literary aspects
• Conversational characters, also known as chatterbots
• Interactive fiction
• Novels that take the form of emails, SMS messages, or blogs
• Poems and stories that are generated by computers, either interactively or based on parameters • given at the beginning
• Collaborative writing projects that allow readers to contribute to the text of a work
• Literary performances online that develop new ways of writing

The ELO showcase, created in 2006 and with some entries from 2010, provides a selection outstanding examples of electronic literature, as do the two volumes of our Electronic Literature Collection.

The field of electronic literature is an evolving one. Literature today not only migrates from print to electronic media; increasingly, “born digital” works are created explicitly for the networked computer. The ELO seeks to bring the literary workings of this network and the process-intensive aspects of literature into visibility.

The confrontation with technology at the level of creation is what distinguishes electronic literature from, for example, e-books, digitized versions of print works, and other products of print authors “going digital.”

Electronic literature often intersects with conceptual and sound arts, but reading and writing remain central to the literary arts. These activities, unbound by pages and the printed book, now move freely through galleries, performance spaces, and museums. Electronic literature does not reside in any single medium or institution.

The ELO’s Role

Because information technology is driven increasingly by proprietary concerns, authors working in new media need the support of institutions that can advocate for the preservation, archiving, and free circulation of literary work. The ELO has from the start made common cause with organizations such as Creative Commons, Archiving the Avant Garde, ArchiveIT.org, and the Library of Congress, to ensure the open circulation, attributed citation, and preservation of works, without which no field can develop.

Equally important is the discovery of talent and common areas of interest among our membership. Our affiliation with numerous organizations attests to the extensive network of people who produce works and the growing audience that reads, discusses, and teaches e-lit. The collection and circulation of works is another way that developments in the field are recorded and made available to our membership – continuously in the Electronic Literature Directory, serially in the Electronic Literature Collection, and perennially in the Library of Congress Archive-IT initiative. Through our conference series, we provide a way for artists, writers, and scholars to productively discuss existing work and to further develop the field."
elo  electronicmedia  electronicliterature  literature  media  internet  hypertext  fiction  poetry  poems  interactivefiction  if 
january 2014 by robertogreco
Post Position
"this is nick montfort's blog about interactive narrative, imaginative and poetic digital writing, the material history of computational media, video and computer games, and other stuff he likes. nick has a plain old website, too. [http://nickm.com/ ]"

[Via: http://www.blurb.com/b/3442475-implementation and
http://nickm.com/implementation/ ]
interactivefiction  videogames  nickmontfort  literature  academia  writing  poetry  digitalwriting  if 
july 2013 by robertogreco
Infovore » Towards a canon of “hypertext literature / interactive fiction / digital narrative”
Kim asked on Twitter:

“Is there a canon for digital narratives / interactive stories / hypertext literature yet? A list of accepted classics and forms?”
What followed was a lot of us going “we don’t know”. And I wasn’t exactly helpful, by pointing out that those three things are (in some ways) completely different.

But. Nobody got anywhere but not being helpful, and to do so, I’m going to express (a bit) of an opinion, and hopefully something a little absolute. I hate list posts, but let’s put something down for people to argue about.

So, specifically: if I had to draw up a Canon – a canon of the interactive-story-thingies (we all know what they are – “things that the reader/audience interpret differently by interacting” is my best explanation) what would I include?

The rough goals were: not necessarily the best, but important pillars; no bias to high- or low- brow; trying to cover all media appropriately; interpret the question as broadly as you would like; don’t take too long over it. Here’s where I am:

Cent mille milliards de poèmes, Raymond Queneau, 1961
The Unfortunates, BS Johnson, 1969
Zork, Infocom, 1980
The Warlock of Firetop Mountain, Steve Jackson/Ian Livingstone, 1982
Trinity, Infocom, 1985
The Secret of Monkey Island, 1990
253, Geoff Ryman, 1996
The Last Express, Jordan Mechner et al, 1997
Spider and Web, Andrew Plotkin, 1998
Planescape Torment, Black Isle, 1999
Galatea, Emily Short, 2000
The Beast, 2001
Half-Life 2, Valve Software, 2004
Gravitation, Jason Rohrer, 2008
Dear Esther, thechineseroom, 2008/2012
Fiasco, Jason Morningstar, 2009
Sleep No More, Punchdrunk, 2011
The Walking Dead, Telltale Games, 2012
30 Flights of Loving, Blendo Games, 2012

Things I wanted represented: pre-digital works; early, web-based hyperfiction; text-based IF, both classic and modern; things that are clearly videogames; an ARG (and the Beast still, in many ways, feels like the best); tabletop roleplaying; mechanical storytelling; a selection of Infocom writers (Moriarty, Meretzky)."
fiction  games  hypertext  interactive  narrative  literature  hypertextliterature  2013  tomarmitage  zork  monkeyisland  writing  stories  storytelling  srg  if  interactivefiction 
january 2013 by robertogreco
Creation Under Capitalism and the Twine Revolution | Nightmare Mode
[Also here (with broken images) because the link is dead:
http://aliendovecote.com/creation-under-capitalism/ ]

[Wayback with images: http://web.archive.org/web/20131114013954/http://nightmaremode.net/2012/11/creation-under-capitalism-23422/ ]

[Preserved here too with images: https://www.evernote.com/pub/view/perplexing/designplay/25a47439-6fa9-49fc-8696-6f80eaef5f25?locale=es#st=p&n=25a47439-6fa9-49fc-8696-6f80eaef5f25 ]

"Our world where the average person is separated from their natural creativity and artistic agency isn’t an accident. It’s been carefully, deliberately engineered that way, not just by Apple, but by our entire capitalist society.

Raised to believe that a select few create and the rest are just fans. Rich white people create and we suck it up. This is an extremely profitable system.

So they place unfair expectations on what you create. Tell you it’s too short, too ugly, too personal, ask you why it doesn’t resemble what already exists. And the answer is, why would we want it to?

They impart the subtle idea that a handful of geniuses are born and the rest clean up after them.

They want us to believe that our thoughts are not worth voicing."

"Creation is the most powerful form of criticism, because it has the power to destroy that which it criticizes."
criticism  education  flattening  videogames  gaming  games  art  worldbuilding  making  culture  via:anterobot  inkle  lizdaly  emilyshort  apple  democracy  hypercard  hypertext  writing  twine  if  porpentine  2012  capitalism  creativity  leisurearts  artleisure  professionalization  canon  criticaldesign  human  humans  culturecreation  culturalproduction  elitism  culturemaking  interactivefiction  from delicious
december 2012 by robertogreco
Twine: a tool for creating interactive stories
[now here: https://twinery.org/ ]

"Create your own interactive stories with Twine, the same tool used to produce the stories on this Web site.

Think Visually
Twine lets you organize your story graphically with a map that you can re-arrange as you work. Links automatically appear on the map as you add them to your passages, and passages with broken links are apparent at a glance. As you write, focus on your text with a fullscreen editing mode like Dark Room. Rapidly switch between a published version of your story and the editable one as you work.

Free As In Free
Stories you create with Twine can be used however you'd like. Because the final output is a single, small Web page, you can easily email a story to friends, post it on your Web site, or even distribute it on a CD-ROM. (You could use a floppy disk just as easily — stories take up that little space.) You can also use your stories for commercial purposes without restriction.

Twine is free to download and use, and you can share it with anyone you like."
twine  hypertext  srg  edg  interactivefiction  if  software  writing  tools  from delicious
december 2012 by robertogreco
>You Are Standing in a Dark Cave: Robin Sloan and Charles Yu in Conversation - The Barnes & Noble Review
"I think you're onto something when you say first person is "the native mode of the early 21st century" although I would qualify that by saying that is much more true of writers who are just starting out or close to it, and less true for writers who have been writing since the last millennium. No doubt it has something to do with email and Twitter, as you point out, and also Facebook and video games and all of this first-person writing. Of course, people have always navigated the world in first-person – but I think the difference now is that everyone wants to be a protagonist. And if you're living in the U.S., and relatively comfortable, you have the means and opportunity to do so, to construct reality so that you're at the center of it."

"I'm actually optimistic about mass protagonization. One of the virtues of writing in first-person for an audience, even a very small one, is that it forces you to actually decide what you think."

[And so much more…]
edg  text-basedgames  text-basedadventures  srg  if  metafiction  garyshteyngart  howfictionworks  freeindindirectstyle  thinking  thinkingbywriting  games  gaming  videogames  jameswood  mrpenumbra  facebook  twitter  email  digitalage  empathy  2012  firstperson  writing  charlesyu  robinsloan  interactivefiction 
october 2012 by robertogreco
Russell Quinn — The World's Most Wired Storyteller | Wired Design | Wired.com
"Now after a string of behind-the-scenes successes, Quinn may be about to transform the art of storytelling itself. This summer he will launch The Silent History, a sprawling electronic novel that plays with the mechanics of how stories are told, taking full advantage of the tablet’s GPS and touchscreen, along with platform features like in-app purchasing.

It will be the first release from Ying Horowitz & Quinn, the San Francisco publishing house Quinn co-founded in January. Judging by samples shared with Wired, The Silent History is part book, part multiplayer game, part Google map, and entirely revolutionary.

“I love the printed book,” Quinn says. “But I’m not romantic about the book, either.”

…One key difference in how this e-book works is that the narrative is serialized… The serial is broken into six parts, each one spanning several years in fictional time…

Then there are Field Reports."
children  books  serialfiction  serial  mapping  maps  gaming  games  2012  elihorowitz  chrisying  yinghorowitz&quinn  ebooks  reading  location  gps  literature  fiction  interactivefiction  ipad  ios  application  iphone  mcsweeneys  russellquinn  thesilenthistory  if  suddenoak  from delicious
july 2012 by robertogreco
A Tumblr devoted solely to the violent deaths in choose-your-own-adventure novels
"We love ourselves some old-school pick-a-path novels around these parts, mostly for the litany of confusing deaths that were foisted upon the barely literate reader. The proprietors of the Tumblr "You Chose Wrong" also remember these many horrendous demises fondly and have thus devoted an entire blog to them."

[Tumblr at: http://youchosewrong.tumblr.com/ ]
death  tumblrs  endings  jumor  cyoa  if  interactivefiction  from delicious
july 2012 by robertogreco
inkle | interactive literature
"inkle is a software and creative design company formed from videogame industry talent.

We specialise in finding new ways to tell stories on mobile devices, but our creative services extend to any kind of iOS app. We pride ourselves on the beauty and polish of everything we produce.We’ve developed a unique format for interactive literature: the “inklebook“. Our inklebooks can be of any genre or style, and are as versatile as the written word. The format is powering Frankenstein, written by Dave Morris, and published by Profile Books."

[InkleWriter is here: http://writer.inklestudios.com/ ]
[Frankenstein, as an example: http://www.inklestudios.com/frankenstein ]
appilications  ios  inklewriter  inkle  ebooks  books  fiction  publishing  cyoa  text-basedgames  text-basedadventures  text  edg  srg  writing  interactivefiction  if  storytelling  interactive  from delicious
june 2012 by robertogreco
Playfic
"Welcome to Playfic, the online community that lets you write, remix, share, and play interactive text-based games with the world."
publishing  interactive  edg  cyoa  playfic  srg  writing  text  text-basedgames  text-basedadventures  games  storytelling  interactivefiction  if  from delicious
june 2012 by robertogreco
Varytale
"Varytale is a publisher and retailer of interactive books.

Interactive books allow you to influence the narrative. From big choices that affect the whole story, through changes in viewpoint, to special features and extras that shed new light on the author's imagination.

The books we publish range from literary fiction, through to genre and young adult work. We also allow writers to self-publish through our site.

Varytale books can be read on any internet connected device, and your bookmarks are automatically up to date wherever you read from.

Writers

Varytale has the most comprehensive tools for authors wishing to create interactive books.

You create books through our on-line tools. They support individual authors, or large writing teams with editorial work flow.

Our tools show you exactly what readers are reading and enjoying about your book. You can start with a short story, and see how successful it is within a matter of days, adding and expanding content as readers demand…"
publishing  interactive  edg  games  storytelling  writing  cyoa  books  text-basedgames  text  text-basedadventures  srg  if  interactivefiction  varytale  from delicious
june 2012 by robertogreco
StoryNexus - A platform for storygames, by Failbetter Games
"A platform for storygames, by Failbetter Games

StoryNexus allows you to play, and build, storygames like Fallen London and The Night Circus."
publishing  games  gaming  failbettergames  storygames  text  text-basedgames  text-basedadventures  thenightcircus  fallenlondon  interactive  writing  stories  cyoa  srg  edg  books  interactivefiction  if  storynexus  from delicious
june 2012 by robertogreco
Gamasutra - News - In-depth: Is it time for a text game revival?
"In a market where books and games are close rivals for the most popular category on app stores, what happens when today's new gamers are hungry for something more than word puzzles?"

"Gamers are hungry for deeper characterization and worlds to which they can truly attach, and text can be a way to illuminate inner worlds, thought processes or other elements that aren't easily demonstrated by imagery."
via:caseygollan  text-basedadventures  text-basedgames  books  srg  if  games  interactivefiction  gaming  videogames  cyoa  from delicious
may 2012 by robertogreco
Eastgate: Serious Hypertext
SERIOUS HYPERTEXT: Eastgate publishes superb, original hypertext fiction, nonfiction, and poetry, and we create innovative tools for hypertext writers.

These outstanding hypertexts are collected in libraries and studied in universities and schools throughout the world, and have been widely discussed in the research literature."

[Catalog: http://www.eastgate.com/catalog/Fiction.html ]
edg  srg  eastgate  fiction  nonfiction  hypertextpoetry  hypertextnonfiction  hypertextfiction  poetry  literature  text-basedgames  text  web  books  publishing  if  writing  hypertext  via:caseygollan  interactivefiction  from delicious
may 2012 by robertogreco
Imaginary Friend Books
"…a unique interactive platform that allows kids & parents to read & play together. We don't want to just add interactive elements to books. We want to build from the ground up a new type of book. Kids are going to experience books not just on the pages in front of them but all around them. They're gonna be able to interact with the characters & become a character in the story. The videos that they watch online, the messages that they're gonna get in their inbox, the games that they play are all going to relate to the story as it's happening and they are going to be a part of it. We are talking about a collaboration. It's going to be the author who wrote the story, the parent who controls and customizes the story and then the child who experiences the story. These books are gonna be immersive, not disruptive."

[Quote is caption to this video: http://www.youtube.com/watch?v=T2ZMhLh7aME ]
imaginary  cowriting  immersive  imaginaryfriendsbooks  video  ebooks  interactive  social  reading  children  childrenliterature  interactivefiction  books  if  cyoa  from delicious
may 2012 by robertogreco
Choice of Games
"Choice of Games is a small partnership dedicated to producing high-quality, text-based, multiple-choice games. We produce games in house, beginning with Choice of the Dragon and Choice of Broadsides. We have also developed a simple scripting language for writing text-based games, ChoiceScript, which we make available to others for use in their projects, and we host games produced by other designers using ChoiceScript on our website. All of our games are available for free on the web. We also produce mobile versions of our games that can be played on iPhones, Android phones, and other smartphones."
coding  choicescript  interactivefiction  if  interactive  free  online  ios  iphone  edg  srg  applications  android  gaming  games  text-basedgames  text-basedadventures  choiceofgames  cyoa  kindle  appstore  from delicious
may 2012 by robertogreco
Choose Your Own Adventure - Choose Your Own Adventure eBooks
"Introducing Choose Your Own Adventure eBooks for the iBookstore.  10 titles now available in our ground-breaking electronic format:

CYOA has been in digital format since just a few years after it was first printed, appearing on Atari and Commodore computer systems in the very early 1980s.  We've improved the electronic experience a little bit:

Touch-screen technology lets us keep the interactive experience compelling and immersive.  And because you can't keep your fingers in a digital page, we've added a colorful map that lets you skip around and ahead in the book.  It's not cheating, we swear!

If you have an iTunes account, head over and check us out.  You'll need an iPad or iPhone with iBooks 1.5 or later (it's free!) and iOS 5.0 or later.  As always, we'd love to hear what you think."
ebooks  books  2012  ibookstore  ibooks  cyoa  if  interactivefiction  from delicious
may 2012 by robertogreco
Penumbra - Samantha Gorman
"Penumbra is a hybrid art/literature application in development for tablet media. It expands “ebook” conventions by carefully integrating video, illustration and fiction. These media work equally together to inform the total reading. Tablets are a promising literary medium with the potential to redefine our reading practice beyond a simple emulation of print on screen. Increasingly, ebooks could represent a growing platform for the consumption and dissemination of media art: a platform that is inherently interactive and readily mobile.

Investment in actively reading the interface relies on our experience with interaction design; the goal is to implement touch-screen gestures in service of the story’s content. Touching and tilting the screen places the reader in the position of the main protagonist. The reader can use the interface to decide how long the protagonist focuses on his external vs. internal world."

[Now called Pry: http://samanthagorman.net/Pry
http://prynovella.com/
https://vimeo.com/78973518

Penumbra video:
https://vimeo.com/33515808 ]
floatingtext  animation  perspective  worldswitching  thebookofjudith  ephemerality  gestures  mediaart  penumbra  ios  interactivefiction  content  video  futureofmedia  literature  storytelling  interactiondesign  interaction  tablets  ebooks  ebook  2012  samanthagorman  reading  ipad  digitaltext  if  applications  cyoa  ephemeral  pry  novellas  from delicious
april 2012 by robertogreco
The Most Dangerous Gamer - Magazine - The Atlantic
"Thoreau…“With a little more deliberation in the choice of their pursuits,” he proclaimed, “all men would perhaps become essentially students and observers, for certainly their nature and destiny are interesting to all alike.”

Blow clicked off the stereo and turned to me. “I honestly didn’t plan that,” he said.

In so many words, Loud Thoreau had just described Blow’s central idea for The Witness. Whereas so many contemporary games are built on a foundation of shooting or jumping or, let’s say, the creative use of mining equipment to disembowel space zombies, Blow wants the point of The Witness to be the act of noticing, of paying attention to one’s surroundings. Speaking about it, he begins to sound almost like a Zen master. “Things are pared down to the basic acts of movement and observation until those senses become refined,” he told me. “The further you go into the game, the more it’s not even about the thinking mind anymore—it becomes about the intuitive mind."
literature  narrative  taylorclark  miegakure  marctenbosch  interactivefiction  asceticism  storytelling  payingattention  attention  observation  noticing  intuition  myst  littlebigplanet  money  belesshelpful  fiction  jenovachen  flow  tombissell  gamedev  chrishecker  einstein'sdreams  alanlightman  invisiblecities  italocalvino  jonblow  deannavanburen  art  2012  thewitness  thoreau  srg  edg  videogames  gaming  games  braid  jonathanblow  if  cyoa  from delicious
april 2012 by robertogreco
Klynt
"Edit Rich Narratives
*Mixed Media Editing: Texts, images, audios, videos and hyperlinks
*Multiple Interactive Layers: Manage unlimited story nodes
*Visual Storyboard: Edit your storyboard like a mind map

Connect Your Story To The Web
*Mash-up Ready: Mix YouTube videos and FlickR images
*Facebook & Twitter Friendly: Share your favorite sequences on social networks
*Custom Maps: Geolocalize your content

Publish Anywhere
*Quick Publishing: Automatically export your final edit
*Embedable Anywhere: Show your program on any webpage
*Tablet and Mobile Device Compatible: iOS player available this Spring"

[See this project example "Journey to the End of Coal": http://www.honkytonk.fr/index.php/webdoc/ ]
[Related: http://nofilmschool.com/2012/02/advice-creating-transmedia-documentary/ ]
[See also Bear 71: http://bear71.nfb.ca ]
klynt  remixing  dailymotion  youtube  flickr  onlinetoolkit  twitter  facebook  geolocation  mapping  maps  storyboards  hypertext  audio  text  vimeo  cyoa  interactivedocumentary  webdoc  media  software  journalism  video  interactive  tools  multimedia  fiction  if  interactivefiction  filmmaking  remixculture  from delicious
february 2012 by robertogreco
Plotto
“I just got my Weegee + Barthes + Chris Alexander + IF + symbolic logic + narratology fancies tickled at once.” —Max Fenton at 2/19/12 7:39 PM

(Source: http://twitter.com/maxfenton/status/171393503849488384 )
thinking  books  rolandbarthes  christopheralexander  maxfenton  weegee  interactivefiction  if  via:litherland  paulcollins  cyoa 
february 2012 by robertogreco
NFB/Interactive - Bear 71
[an interactive film about grizzly bears from the National Film Board of Canada]

"It's hard to say where the wild world ends and the wild one begins."

"The forest has its own language."

"If you look backward from any single point in time, everything seems to lead up to that moment."

"They'll have to learn *not* to do what comes naturally, and I wonder. Maybe the lesson is too hard."
deschooling  unschooling  parenting  flash  video  film  2012  tracking  visualization  classideas  storytelling  interactivenarratives  nationalfilmboardofcanada  nfb  bear71  bears  nature  animals  documentary  interactive  cyoa  interactivefiction  if  nfbc 
february 2012 by robertogreco
GET LAMP: THE TEXT ADVENTURE DOCUMENTARY
"…early 1980s, an entire industry rose over telling of tales, solving of intricate puzzles & art of writing. Like living books, these games described fantastic worlds to readers, & then invited them to live w/in them.

They were called "computer adventure games", & they used the most powerful graphics processor in the world: the human mind.

Rising from side projects at unis & engineering companies, adventure games would describe a place, & then ask what to do next. They presented puzzles, tricks & traps to be overcome. They were filled w/ suspense, humor & sadness. & they offered a unique type of joy as players discovered how to negotiate obstacles & think their way to victory. These players have carried memories of these text adventures to the modern day, & whole new generation of authors have taken up torch to present new set of places to explore.

Get Lamp is a documentary that will tell the story of the creation of these incredible games, in the words of the people who made them."
cyoa  computers  computing  getlamp  classideas  storytelling  writing  towatch  if  interactivefiction  documentary  history  gaming  text  games  edg  srg  via:litherland  interactive  fiction 
january 2012 by robertogreco
Bear 71: An Interactive, Experimental Documentary
"This interactive documentary blurs the line between wild and wired worlds"

"It’s usually a good thing when technology and creativity intersect, and that’s why it’s so easy to love projects like Bear 71, which surpasses everything I previously believed was possible to do with a documentary.

Produced by the National Film Board of Canada’s digital studio, the documentary is constructed as an interactive online experience that observes and records the intersection of humans, nature and technology.

The story follows a female grizzly bear, named Bear 71 by the park rangers who track her. The bear’s story speaks to how we coexist with wildlife in an age of networks, surveillance and digital information, and blurs the line between the wild and wired worlds."
nfbc  networks  storytelling  via:anterobot  surveillance  bears  animals  technology  nature  towatch  2012  bear71  documentaries  classideas  interactive  srg  edg  cyoa  interactivefiction  if  nfb 
january 2012 by robertogreco
http://www.literateprogramming.com/adventure.pdf
"The ur-game for computers — Adventure — was originally written by Will Crowther in 1975 and greatly extended by Don Woods in 1976. I have taken Woods’s original FORTRAN program for Adventure Version 1.0 and recast it in the CWEB idiom.

I remember being fascinated by this game when John McCarthy showed it to me in 1977. I started with no clues about the purpose of the game or what I should do; just the computer’s comment that I was at the end of a forest road facing a small brick building. Little by little, the game revealed its secrets, just as its designers had cleverly plotted. What a thrill it was when I first got past the green snake! Clearly the game was potentially addictive, so I forced myself to stop playing — reasoning that it was great fun, sure, but traditional computer science research is great fun too, possibly even more so.

Now here I am, 21 years later, returning to the great Adventure after having indeed had many exciting adventures in Computer Science"
adventure  history  1977  programming  fiction  interactive  via:robinsloan  willcrowther  cweb  coding  games  gaming  videogames  cyoa  filetype:pdf  media:document  if  interactivefiction  from delicious
july 2011 by robertogreco
Visual novel - Wikipedia
"A visual novel (ビジュアルノベル bijuaru noberu?) is an interactive fiction game featuring mostly static graphics, usually with anime-style art, or occasionally live-action stills or video footage.[1] As the name might suggest, they resemble mixed-media novels or tableau vivant stage plays.

In Japanese terminology, a distinction is often made between visual novels proper (abbreviated NVL), which are predominantly narrative and have very little interactive elements, and adventure games (abbreviated AVG or ADV), which typically incorporate problem-solving and other gameplay elements. This distinction is normally lost in the West, where both NVLs and ADVs are commonly referred to as "visual novels" by Western fans. Visual novels and ADVs are especially prevalent in Japan, where they made up nearly 70% of the PC game titles released in 2006."
games  writing  japan  classideas  multimedia  media  nvl  avg  adv  visualnovels  interactive  interactivefiction  fiction  gaming  videogames  if  cyoa  from delicious
july 2011 by robertogreco
Steins;Gate - Wikipedia
"The story of Steins;Gate takes place in Akihabara and is about a group of friends who have customized their microwave into a device that can send text messages to the past. As they perform different experiments, an organization named SERN who has been doing their own research on time travel tracks them down and now the characters have to find a way to avoid being captured by them. Steins;Gate has been praised for its intertwining storyline and the voice actors have been commended for their portrayal of the characters."
games  japan  interactivefiction  storytelling  timetravel  manga  xbox360  videogames  classideas  writingprompts  visualnovels  edg  srg  scifi  sciencefiction  akihabara  tokyo  anime  if  cyoa  from delicious
july 2011 by robertogreco
Post by Robin Sloan: Thursday question 001: What's the future of offline role-playing games?
"had a fun Twitter back-and-forth…about Dungeons & Dragons…made me think about a few things:

* Board games like HeroQuest, which offered a sort of stripped-down D&D experience, played across a reconfigurable plastic-and-cardboard labyrinth.

* The fact that my friend +Robert Lavolette seems to enjoy the sourcebooks (detailing various monsters, locales, & lost civilizations) more than the games themselves.

* +Matt Penniman's love of new-school indie RPGs, many of which sport radically reduced rule sets—you can play some w/ just index cards.

So: What's the future of offline role-playing games?

Is the rise of a game like Settlers of Catan a sign that the mainstream is ready for nerdier fare? If there was going to be a breakout RPG (one played in person, around a table) what would it be? Do you have a dream RPG?

I'm interested to hear from folks who haven't played RPGs—who know them by reputation, or who have always been curious…"
robinsloan  games  rpg  arg  gaming  offline  play  cyoa  2011  settlersofcatan  larp  books  werewolf  mafia  interactive  fiction  if  interactivefiction  from delicious
july 2011 by robertogreco
Week 315 – Blog – BERG
"Your sensitivity & tolerance improve only with practice. I wish I’d been given toy businesses to play w/ at school, just as playing w/ crayons taught my body how to let me draw.

I’ve written in these weeknotes before how I manage three budgets: cash, attention, risk. This is my attempt to explain how I feel about risk, and to trace the pathways between risk and cash. Attention, & how it connects, can wait until another day…

I said I wouldn’t speak about attention, but here’s a sneak peak of what I would say. Attention is the time of people in the studio, & how effectively it is applied. It is affected by the arts of project & studio management; it can be tracked by time-sheets & capacity plans; it can be leveraged with infrastructure, internal tools, and carefully grown tacit knowledge; and it magically grows when there’s time to play, when there is flow in the work, and when a team aligns into a “sophisticated work group.”
Attention is connected to cash through work."
design  business  management  berg  berglondon  mattwebb  attention  flow  groups  groupculture  sophisticatedworkgroups  money  risk  riskmanagement  riskassessment  confidence  happiness  anxiety  worry  leadership  tinkering  designthinking  thinking  physical  work  instinct  frustration  lcproject  studio  decisionmaking  systems  systemsthinking  manufacturing  making  doing  newspaperclub  svk  distribution  integratedsystems  infrastructure  supplychain  deleuze  guattari  cyoa  failure  learning  invention  ineptitude  ignorance  deleuze&guattari  gillesdeleuze  interactive  fiction  if  interactivefiction  félixguattari 
june 2011 by robertogreco
A Dream About Augmented Reality Fiction - O'Reilly Radar
"augmented reality could be an important component of a new kind of storytelling, making today's 3D entertainments as dated as silent films. Elan Lee's Fourth Wall Studios is already chipping away at barrier between storytelling & daily life. The 1st augmented reality entertainments may be text based rather than video; eventually they will likely be as immersive as my dream.

Many years ago, I saw a play in LA called Tamara, story set in mansion where WWI hero & author Gabrielle D'Annunzio was held under house arrest by Mussolini...fascinating experiment in theater...took place in many different rooms of the house. As audience member, whenever scene ended, you had an opportunity to follow the character of your choice to another room. No audience member could see entire play. My wife & I went w/ her parents (back for 3rd or 4th time, seeing parts of play they'd missed on previous visits), & afterwards, we all compared notes for hours about what we'd seen & what we'd missed."
augmentedreality  fiction  tcsnmy  writing  timoreilly  future  gabrielled'annunzio  tamara  theater  cyoa  perspective  distributed  augmentedrealityfiction  literature  interactive  if  interactivefiction  ar 
february 2010 by robertogreco
SAMPLE REALITY · A History of Choose Your Own Adventure Visualizations
"Every six months or so it seems as if the entire Internet discovers for the first time that people are making data visualizations of the Choose Your Own Adventure books that were popular in the early eighties. Computer scientist Christian Swinehart’s stunning visualizations are only the most recent to capture the imagination of scores of old fans, academics, and data fanatics.

Here then is a brief history of these CYOA maps:"
cyoa  chooseyourownadventure  visualization  maps  mapping  interactive  fiction  if  interactivefiction 
november 2009 by robertogreco
Daring Fireball Linked List: Fighting Fantasy Game Books
"Of all the various Choose Your Own Adventure-type books, the Fighting Fantasy series, created by Steve Jackson and Ian Livingstone, was by far and away my favorite. I read/played them all, obsessively. They felt more like games than any of the others (and included a simple D&D-esque dice-based combat system), but were also much better written, better typeset, and better illustrated. Rather than going by pages, they went by numbered entries, generally with more than one entry per page. Most of the books had exactly 400 entries, so the gameplay was vastly more complex than any of the regular CYOB-style books. I’d love to see info-graphic diagrams of their decision trees a la the work by Christian Swinehart I linked to yesterday."

[more: http://daringfireball.net/linked/2009/11/13/fighting-fantasy-flowcharts ]
games  gaming  cyoa  chooseyourownadventure  johngruber  reading  children  text  fightingfantasy  writing  books  interactive  fiction  if  interactivefiction 
november 2009 by robertogreco
cyoa [Choose Your Own Adventure visualizations]
"To get a sense for the distribution of pages within the actual cyoa books, I’ve prepared a dataset of 12 books. They earliest date from 1979 and at the later edge are a handful from 1986. They are laid out chronologically (or according to series order for books released in the same year) with the oldest at the top left and more recent books below. Each book has been arranged into rows of ten pages apiece."
visualization  books  cyoa  chooseyourownadventure  infographics  reading  design  games  play  gaming  interactive  fiction  if  interactivefiction 
november 2009 by robertogreco
A peek at the future of interactive storytelling? | EverydayUX: Everyday User Experience by alex rainert
"I was completely blown away by this video the first time through. Such a simple, low-tech, solution produces such an amazingly rich, engaging experience that’s just bursting with possibility for further creativity.

While it’s just a concept at this point, you can see how it can make a new kind of storytelling available to the masses in a way that wouldn’t have seemed possible not that long ago."

[via: http://snarkmarket.com/2009/4096 ]
iphone  books  applications  children  interactiondesign  japan  interactive  interactivefiction  gamedesign  storytelling  mobile  if  cyoa  ios 
november 2009 by robertogreco
Frotz - OLPC
"Frotz.activity lets you play interactive fiction games on your XO laptop. This activity is a wrapper around the Unix port of Frotz, which is an interpreter for Infocom games and other Z-machine games. It includes one game, the classic Adventure. You can download more games here: Frotz/Games." ... "Frotz.activity is free software, licensed under the GPL and so is the actual frotz interpreter. You can find the source code to the wrapper inside the .xo bundle. Source for the interpreter can be found on David Griffith's website: http://frotz.homeunix.org/frotz/ If you are interested in a python z-machine implementation see: http://code.google.com/p/zvm/ "

[more here: http://wiki.laptop.org/go/Frotz/Games]
srg  olpc  frotz  games  gaming  interactivefiction  writing  programming  if  cyoa 
january 2009 by robertogreco
The Colossal Cave Adventure page
"The Colossal Cave Adventure game, produced in the '70s, was the historic first "interactive fiction" game, in which the computer would simulate and describe a situation and the user would type in what to do next, in simple English.

The user would thus be a part of an ongoing story in a fantasy setting — in this case, an exploration of Colossal Cave in Kentucky. But this Colossal Cave, though remarkably similar to its real-life counterpart, was also very different: Magic was afoot in the cave... "
srg  frotz  games  gaming  history  interactivefiction  if  cyoa 
january 2009 by robertogreco
Frotz - Wikipedia
"Frotz was a verb in MIT slang, meaning "to play with" or "to manipulate". This presumably led to its use in certain Infocom games."
srg  frotz  words  games  gaming  interactivefiction  if  cyoa 
january 2009 by robertogreco
STORYTRON - Interactive Storytelling
"Do you love stories? Do they excite you, fascinate you, exhilarate you? Have you ever wanted to try to jump right into a story and speak to the people in it? Have you thought about playing the protagonist, letting your feelings and imagination steer the story in new, creative directions?"

[via: http://pmog.com/missions/a_sampler_platter_of_interactive_fiction ]
srg  interactive  interactivefiction  videogames  storytelling  narrative  writing  games  literature  interactiveliterature  fiction  commandline  text  gaming  if  cyoa 
january 2009 by robertogreco
Interactive fiction - Wikipedia
"Interactive fiction, often abbreviated IF, describes software simulating environments in which players use text commands to control characters and influence the environment. Works in this form can be understood as literary narratives and as computer games. In common usage, the word refers to text adventures, a type of adventure game with text-based input and output. The term is sometimes used to encompass the entirety of the medium, but is also sometimes used to distinguish games produced by the interactive fiction community from those created by games companies. It can also be used to distinguish the more modern style of such works, focusing on narrative and not necessarily falling into the adventure game genre at all, from the more traditional focus on puzzles. More expansive definitions of interactive fiction may refer to all adventure games, including wholly graphical adventures such as Myst."
srg  interactive  interactivefiction  videogames  storytelling  narrative  writing  games  literature  interactiveliterature  fiction  commandline  text  gaming  if  cyoa 
january 2009 by robertogreco

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