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Curveship: an Interactive Fiction System for Interactive Narrating

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Curveship: an Interactive Fiction System for Interactive Narrating Curveship: An Interactive Fiction System for Interactive Narrating Nick Montfort Program in Writing and Humanistic Studies Massachusetts Institute of Technology Cambridge, MA 02139, USA [email protected] Abstract 1 Curveship and Its Contexts Interactive fiction (often called “IF”) is a ven- This paper addresses those interested in aesthetic erable thread of creative computing that in- and computational, work with language, whether cludes Adventure, Zork, and the computer or not they are familiar with interactive fiction or game The Hitchhiker’s Guide to the Galaxy as narrative theory. I describe the twofold motivation well as innovative recent work. These pro- behind Curveship, explaining why I find interac- grams are usually known as “games,” appro- tive fiction compelling and why I find narrative priately, but they can also be rich forms of variation a worthwhile capability for a literary text-based computer simulation, dialog sys- computer system. I then sketch the way that tems, and examples of computational literary Curveship works, pointing to aspects of the system art. Theorists of narrative have long distin- guished between the level of underlying con- that will, I hope, interest interactive fiction authors tent or story (which can usefully be seen as and also have relevance beyond interactive fiction. corresponding to the simulated world in inter- Several histories of interactive fiction are avail- active fiction) and that of expression or dis- able, including book-length (Montfort 2003) and course (corresponding to the textual exchange briefer ones (Nelson 2001, Montfort 2007a). This between computer and user). While IF devel- paper focuses on how interactive fiction works, opment systems have offered a great deal of and on explaining its conventions, rather than on power and flexibility to author/programmers detailing the history of the first interactive fiction, by providing a computational model of the Adventure (written in 1976 by Will Crowther and fictional world, previous systems have not Don Woods), the “mainframe” games that systematically distinguished between the tell- ing and what is told. Developers were not able followed, interactive fiction in the commercial to control the content and expression levels marketplace (including the many notable independently so that they could, for instance, contributions of Infocom), and the surge in have a program relate events out of chrono- development by individual, non-commercial inter- logical order or have it relate events from the active fiction authors. This paper also doesn’t pro- perspective of different characters. Curveship vide any information about how to download or is an interactive fiction system which draws run interactive fiction, and very little about how to on narrative theory and computational linguis- play it, although several FAQs and other resources tics to allow the transformation of the narrat- are available online with that information (IFWiki ing in these ways. This talk will briefly 2009, Aiken 2008, Cadre n.d.). describe interactive fiction, narrative varia- tion, and how Curveship provides new capa- After offering some of the motivation for this bilities for interactive fiction authors. work, this paper provides a high-level introduction to Curveship and its capabilities. The details on narrative variation and on how it has been imple- mented computationally are available in the 55 Proceedings of the NAACL HLT Workshop on Computational Approaches to Linguistic Creativity, pages 55–62, Boulder, Colorado, June 2009. c 2009 Association for Computational Linguistics author’s dissertation (Montfort 2007b). While the interface to the system has been streamlined and The window winks away. other changes are being made to facilitate the use of Curveship by interactive fiction authors, the ap- >go to the automat proach to narrative variation that is described there remains current. Otto’s Automat Someone, perhaps nWare’s monarchically 2 The Interactive Fiction Tradition wealthy founder, shellf, really got into Dark City. There couldn’t be any other excuse for Since the release of the first work of interactive this combination vending machine and cafe- fiction in 1976, those working in the form have teria, even though it may strain to look mod- developed conventions and traditions and have ern and appetizing. Pixelated smiley faces in undertaken many different sorts of exploration and an urgent red decorate everything, even the innovation. edges of the food-dispensing wall. A snippet of a transcript from this author’s Book and Volume (2005) gives a basic idea of what The opportunity to avoid social contact dur- interaction is like: ing food selection is appealing. Your Apartment Building’s Lobby >buy some food Clean, if not homey. The doorman waits in a Food does seem like a good idea. You select Plexiglas cube that looks curiously bullet- something palatable from the food- proof. dispensing wall and begin to consume it, face flickering with mammalian happiness. >leave Onward, into the intentional city. nWare A guy you met during new employee reori- crafted it well -- built from the ground up entation -- Knut, you think his name is -- fur- with security and scalability in mind, it’s tively joins you as you’re dining. He looks fully pedestrianized but hums, almost full- even more feverish and high-strung than he size, like a city center. did a few days ago. The night sky is completely cloudless. The “Hi. Hi again. Gotta tell. Tell you some- dry warmth of the air hints at the desert that thing.” surrounds nTopia. Here, the player character — the one controlled by Abalone & Fifth the player via textual commands — begins in the Your apartment building is on the southwest lobby of his apartment building. The player then corner. Opposite it is a windowless, blocky types a command for that character to “leave,” building. On the southeast corner Pharmico- which he does, ending up outside at an intersec- pia sprawls. Otto’s Automat is to the north- tion. Because the player character happens to be west. carrying his laptop computer, which is turned on, an annoying animated agent appears and dispenses A window pops up in the lower right corner some advice. The next command, “go to the auto- of your nLap. In it, the uncanny red stapler mat,” directs the character to enter a different wiggles its hinged head to the accompani- building. (“Go northwest,” “walk northwest,” ment of a cheery robot voice: “northwest,” or simply “nw” would have all done the same thing.) Finally, the character is com- I see you’re outside! Hey, the nice thing manded to “buy some food,” which the character about this city is that it uses the grid system, does — something that is only possible because the so you can just go NORTH, EAST, SOUTH, character has his electronic cash device, isn’t sated, or WEST, and you’ll pretty much always end and is in place where food is sold. Although these up somewhere else! are not dramatically interesting actions, they, in 56 this game and in others, can be part of figuring out genre, it’s worth mentioning a few examples of the nature of an unusual world. work from the last few years, work that gives an Of course, not every input works as smoothly idea of the range of interactive fiction today — all as these did in this context. Actions often work if of which is available for free download and easily they are warranted by the situation in some way; so found online: “buy some food” is appropriate in an automat Anchorhead, by Michael Gentry, 1998: An ex- while “donate my organs to science” isn’t. A char- pansive interactive fiction with deep secrets and acter can be commanded to walk in a particular action that runs over several days, inspired in tone direction, or to enter a building that is nearby, but and style by H. P. Lovecraft. not, usually, to “go to Tangiers.” And there is usu- Bad Machine, by Dan Shovitz, 1998: Manifest- ally no need for fine-grained positioning or de- ing itself as confusing a mix of status reports, error scribing the manner in which an action is done, so messages, this interactive fiction takes place in a instead of issuing the command “hop spryly over strange robot-run factory. to the coffee table” to prepare for setting down Narcolepsy, by Adam Cadre, 2003: A seem- one’s mug, it’s fine to just go directly to typing ingly contemporary, ordinary interactive fiction “put my mug on the coffee table.” that branches hilariously into strange genre scenar- Moving a character around using compass di- ios. rections is a very notable convention originating Slouching toward Bedlam, by Star C. Foster with Adventure, although there were other ways to and Daniel Ravipinto, 2003: A steampunk science get around in that game. However it’s done, trav- fiction piece set in an asylum and involving tech- ersing a virtual space is very important to interac- nological and kabbalistic themes. tive fiction. Savoir-Faire, by Emily Short, 2002: The return There are four important characteristics of in- to a childhood home provides opportunities to re- teractive fiction that make it interesting from a re- member the past and requires that the player figure search standpoint as well as from the standpoint of out an intricate system of sympathetic magic. poetics. A work of interactive fiction is: Spider and Web, by Andrew Plotkin, 1998: A science-fiction spy thriller that has the player reen- • A limited domain that serves as a simu- act past events to the satisfaction of an interroga- lated “microworld.” It has a complete model of the tor. things that can be manipulated in the simulation Interactive fiction as it exists now is a type of and can be usefully talked about. virtual reality, a simulation of not only a space and • A dialog system.
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