BY ERIC GREVSTAD for Product Development, and Michael Berlyn
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Q U F S T1' UST F R S™
Q Uf S T1' UST f RS™ The Adventurer's Newsletter Vol.111,#6 June,1986 problem with this version. using the correct objects. Most of the problems revolve You've got alien machinery to 00-TOPOS around the "greed factor" as you figure out, but nothing attempt to obtain objects (a good overwhelming or more Oo-topos was the first regular or hi-res graphics, and adventurer can never have too complicated than a microwave adventure of science fiction the program uses any extra many objects, you know). One oven. The maze is not as hard novelist Michael Berlyn, who RAM to load in most of them might be guarded by a robot, as it looks and can be mapped in went on to Infocom where he so there's less disk access.) another by deadly radiation, a under an hour; just take at least created games such as There's no music or sound third by a bizarre alien. There's three objects and drop them in Suspended, Cutthroats and effects. no character interaction in terms different rooms. Last issue we Infidel. He and Muffy Berlyn Until you escape the complex of talking to creatures or robots, wrote the story line, he and find your ship, the game but you do interact with them by Continued on page 2 programmed it, and Oo-topos doesn't seem to add up. But if was released in 1981 by Sentient you say "status" to the ship's Software in Colorado. Now computer, it tells you which Penguin has illustrated it, parts have to be found and making this the only all-text installed before you can take off, adventure to be adapted into a and everything falls into place. -
Download As a PDF and Also Offered It for Sale As a Print-On-Demand Book (Daly 2015)
humanities Editorial Further Reading Nick Montfort Comparative Media Studies/Writing, Massachusetts Institute of Technology, Cambridge, MA 02139, USA; [email protected] Received: 7 March 2018; Accepted: 8 March 2018; Published: 9 March 2018 Keywords: interactive fiction; Twitter bots; computer-generated novels; performance It is clear that the contributions in this volume are not only insightful, but also wide-ranging, reaching into popular culture and across different media forms and practices. Rather than directly comment on this writing further, though, I offered to supplement the topics of these essays by pointing to a few additional categories of computational, poetic production that seem rich but relatively overlooked. Interactive Fiction Over the past 40 years, interactive fiction has occupied several different places in computing and in culture. When the first widely-released version of Adventure by Will Crowther and Don Woods became available to users of time-sharing systems in 1976, it hit them like a wrecking ball. Legends tell that productivity ceased for days, or weeks, while those who were supposed to be programming explored the simulated cave system. Then people in the US and UK went on to program their own Adventure-like games, or, simply, adventure games. Zork was a successful and memorable one, originally created at MIT by Tim Anderson, Marc Blank, Dave Lebling and Bruce Daniels and then made into a trilogy of home-computer games by Blank and Lebling. Interactive fiction was a pillar of the emerging entertainment software industry—videogames, or to be more specific, computer games. In the 1980s “interactive fiction” (or “IF”) was more widely used a term for this type of production, or “text adventure” if one wanted to distinguish the graphical adventure. -
The New Zork Times Dark – Carry a Lamp VOL
“All the Grues New Zork Area Weather: That Fit, We Print” The New Zork Times Dark – carry a lamp VOL. 3. .No. 1 WINTER 1984 INTERNATIONAL EDITION SORCERER HAS THE MAGIC TOUCH InfoNews Roundup New Game! Hint Booklets Sorcerer, the second in the In December, Infocom's long- Enchanter series of adventures in the awaited direct mail operation got mystic arts, is now available. The underway. Many of the functions game was written by Steve formerly provided by the Zork Users Meretzky, whose hilarious science Group were taken over by Infocom. fiction game, Planetfall, was named Maps and InvisiClues hint booklets by InfoWorld as the Best Adventure were produced for all 10 of Game of 1983. In Sorcerer, you are a Infocom's products. The games member of the prestigious Circle of themselves were also made available Enchanters, a position that you primarily as a service to those of you achieved in recognition of your in remote geographical areas and to success in defeating the Warlock those who own the less common Krill in Enchanter. computer systems. When the game starts, you realize Orders are processed by the that Belboz, the Eldest of the Circle, Creative Fulfillment division of the and the most powerful Enchanter in DM Group, one of the most the land, has disappeared. Perhaps he respected firms in direct mail. Their has just taken a vacation, but it facilities are in the New York metro- wouldn't be like him to leave without politan area, which explains the letting you know. You remember strange addresses and phone num- that he has been experimenting with bers you'll see on the order forms. -
The New Zork Times by Brief but Savage Downpour
® “All the Gnus Weather: Thic fog, followed That Fit, We Print” The New Zork Times by brief but savage downpour. VOL. 4. .No. 2 —SUMMER 1985— INTERFERON EDITION New Release: A Mind Forever Voyaging A Mind Forever Voyaging, the first were to be introduced. While you're advanced-level Science Fiction story busy exploring the future, the scien- from Infocom, is for true text- tists and programmers who created adventure buffs. Why? Because it you are honing and perfecting the has more locations to visit (several simulation's parameters. Thus, as the hundred), more things to do, more story progresses, you can travel responses, and a large vocabulary further and further in time, watching (1800+ words) than any of our previ- Rockvil prosper as the Plan ously released products. succeeds, or perish as it fails. Only The story takes place in 21st- you can tell on what course the century Rockvil, South Dakota. The country sets itself by adopting the United States of North America has Plan. fallen prey to incredibly high unem- While there are several puzzles to ployment and crime rates. Political keep players on their toes, designer indiffererence, perhaps caused by Steve Meretzky (author of Planetfall backward educational systems or and Sorcerer, and co-author of The diminishing national resources, has Hitchhiker's Guide to the Galaxy) Items from Dr. Perleman’s desk are contained in every A Mind Forever swept the nation. Exploiting this op- concentrated more on immersing the Voyaging package. portunity, Senator Richard Ryder has player in a vast, highly detailed, develop (sic) the Plan for a Renewed realistic world; a vision of the National Purpose, stressing patriot- destiny of mankind. -
14. Riddle Machines: the History and Nature of Interactive Fiction
Nick Montfort Riddle Machines: The History and Nature of Interactive Fiction 14. Riddle Machines: The History and Nature of Interactive Fiction Nick Montfort Introduction The genre that has also been labeled "text adventure" and "text game" is stereotypically thought to offer dungeons, dragons, and the ability for readers to choose their own adventure. While there may be dragons here, interactive fiction (abbreviated "IF") also offers utopias, revenge plays, horrors, parables, intrigues, and codework, and pieces in this form resound with and rework Gilgamesh, Shakespeare, and Eliot as well as Tolkien. The reader types in phrases to participate in a dialogue with the system, commanding a character with writing. Beneath this surface conversation, and determining what the computer narrates, there is the machinery of a simulated world, capable of drawing the reader into imagining new perspectives and understanding strange systems. Interactive fiction works can be challenging for literary readers, even those interested in other sorts of electronic literature, because of the text-based interface and because of the way in which these works require detailed exploration, mapping, and solution. Works in this form are often less visually rewarding, and the rewards they do offer are only attained with time and effort. But text-based interactive fiction has provided some of the most the intricate and compelling literary simulations yet developed. Understanding how interactive fiction works, and how it has developed over the past three decades, is an essential part of the puzzle of literary computing. Characteristics of interactive fiction Formally, a work of interactive fiction (often called a "game," even if it does not exhibit the typical qualities of a game) is an interactive computer program. -
Electronic Literature” Was Going on at the Boston Public Library That Evening of April 25, 2001
one THE PLEASURE OF THE TEXT ADVENTURE It was strange enough that a reading of “electronic literature” was going on at the Boston Public Library that evening of April 25, 2001. About a hun- dred people were gathered in the main auditorium, lured by the publicity from sponsoring organizations—the Boston Cyberarts Festival and the Electronic Literature Organization—and clearly interested to see what new sorts of literary works people were creating for computers. The focus was not only on the author on stage, but also on the image being projected from a computer beside the author. But was something wrong with the screen as the first reader looked up to introduce his work? Instead of a Web browser or some sort of e-book interface, as one would expect from contemporary computers, there was an obsolete-looking command line.Was this going to be some homage to antiquated entertainment software of the 1980s? A nod to the influence of Pac-Man, or something, before the more serious stuff kicked in? It may have been hard to tell what it was, for Adam Cadre had only a few minutes to start in on a reading of Photopia, a work of interactive fic- tion in different segments, each of which is told in a different voice. The work, winner of the 1998 Interactive Fiction Competition, used an inter- face that would be familiar to players of the famous early interactive fiction Zork, but Photopia was in many ways unlike anything that had been done in the 1980s or at any time before. -
Jay Simon 3/18/2002 STS 145 Case Study Zork: a Study of Early
Jay Simon 3/18/2002 STS 145 Case Study Zork: A Study of Early Interactive Fiction I: Introduction If you are a fan of interactive fiction, or have any interest in text-based games from the early 1980’s, then you are no doubt familiar with a fascinating series known as Zork. For the other 97 percent of the population, the original Zork games are text-based adventures in which the player is given a setting, and types in a command in standard English. The command is processed, and sometimes changes the state of the game. This results in a new situation that is then communicated to the user, restarting the cycle. This type of adventure game is classified as belonging to a genre called “interactive fiction”. Zork is exceptional in that the early Zork games are by far the most popular early interactive fiction titles ever released. It is interesting to examine why these games sold so well, while most other interactive fiction games could not sell for free in the 1980’s. As we will see, this is a result of many different technological and stylistic aspects of Zork that separate it from the rest of the genre. Zork is a unique artifact in gaming history. II: MIT and Infocom – The Prehistory of Zork Zork was not a modern project developed under a strict timeline by a designated team of programmers, but credit is given to two MIT phenoms named Marc Blank and Dave Lebling. Its history can be traced all the way back to the invention of a medium-sized machine called the PDP-10, in the 1960’s. -
IF Theory Reader
IF Theory Reader edited by Kevin Jackson-Mead J. Robinson Wheeler > Transcript On Press Boston, MA All authors of articles in this book retain their own copyrights. Neither the editors nor the publisher make any copyright claims. Version 1, March 2011. Version 2, April 2011. Please send corrections to [email protected]. Contents Preface Crimes Against Mimesis 1 Roger S. G. Sorolla Theory Toward a Theory of Interactive Fiction 25 Nick Montfort Characterizing, If Not Defining, Interactive Fiction 59 Andrew Plotkin not that you may remember time: Interactive Fiction, Stream-of-Consciousness Writing, and Free Will 67 Mark Silcox 2 Brief Dada Angels 89 Ryan Stevens, writing as Rybread Celsius Object Relations 91 Graham Nelson IF as Argument 101 Duncan Stevens The Success of Genre in Interactive Fiction 111 Neil Yorke-Smith Parser at the Threshold: Lovecraftian Horror in Interactive Fiction 129 Michael Gentry Distinguishing Between Game Design and Analysis: One View 135 Gareth Rees Natural Language, Semantic Analysis, and Interactive Fiction 141 Graham Nelson Afterword: Five Years Later 189 Graham Nelson Craft Challenges of a Broad Geography 203 Emily Short Thinking Into the Box: On the Use and Deployment of Puzzles 229 Jon Ingold PC Personality and Motivations 249 Duncan Stevens Landscape and Character in IF 261 Paul O’Brian Hint Development for IF 279 Lucian Smith Descriptions Constructed 291 Stephen Granade Mapping the Tale: Scene Description in IF 299 J. Robinson Wheeler Repetition of Text in Interactive Fiction 317 Jason Dyer NPC Dialogue Writing 325 Robb Sherwin NPC Conversation Systems 331 Emily Short History 10 Years of IF: 1994–2004 359 Duncan Stevens The Evolution of Short Works: From Sprawling Cave Crawls to Tiny Experiments 369 Stephen Granade History of Italian IF 379 Francesco Cordella Racontons une histoire ensemble: History and Characteristics of French IF 389 Hugo Labrande Preface This is a book for which people in the interactive fiction community have been waiting for quite some time. -
Contents ,,,;;=Y=St=E=M==: =M=S=D=O=S==(=R=Eq=U=I=Re=D=: ~' Ancient Snake Cult)
Vol. X, #5 Not sold in stores ··---··--· - - - l.JLTIMA VII PART 2 e any moons have passed - more features, the latest graphic striving to retain enough of the old to some of them twin moons - innovations and other technological satisfy those people. I am merely M since I last reviewed an nuances. And enough new characters echoing what I've heard from quite a Ull ima. I've played them all to some to hold your attention. But underneath few other Ultima vets who would extent, of course, but have not spent this glittering surface, we still face also love to run Iola through with a so much time in H.ichard Garriott 's much the same in rusty halberd.) fantasy worlds since Ultima I V My terms of game play initial impression, borne out by a and design. On with the shoe week of questing, is that no maner Your goal, for Part of a trilogy that how many technological innovations instance, involves will comprise Ultima are introduced, U1timawill always be restoring the VII through IX, basicaliy the same game -- Ultima. "I3alance" between Serpent's Isle raises This indicates character and integrity, Chaos and Order - the curtain with a yet tread<; dangerously near the both composed of cinematic sequence at pitfall of redundancy and stereotyp Forces such as Lord British's castle. ing. Only madmen and geniuses (and Tolerance, Logic The Guardian, foiled in his effort to the occasional drunk) dare such a and other traits reminiscent of the enter Britannia through the Black ri sk. virtues introduced in Ultima IV. -
The Status Line
Meet Mike’s Important Dream Date Reader Poll See page 7 The Status Line See page 6 Volume VI Number 1 Formerly The New Zork Times Winter/Spring 1987 Douglas Adams' Bureaucracy Not very long ago, Douglas Adams It's a sad story, one that's replayed (who is, as everyone knows, the best- every day for millions of people selling author of that zany interactive worldwide. Of course, it's not always story The Hitchhiker's Guide to the a bank at fault. Sometimes it's the Galaxy™) moved from one apartment postal service, or the telephone com- in London to another. He dutifully pany, or an airline, or the govern- notified everyone of his new address, ment. All of us, at one time or including his bank. In fact, he person- another, feel persecuted by a bureauc- ally went to the bank and filled out a racy. What can be done? change-of-address form. Only Douglas Adams would exact Soon after, Douglas found that he such sweet revenge. He retaliated by was unable to use his credit card. He writing Bureaucracy™, a hilarious discovered that the card had been interactive journey through masses of invalidated by the bank. Apparently, red tape. the bank had sent a new card to his You begin Bureaucracy in your old address. spiffy new apartment. You're going to For weeks, Douglas tried to get the Paris this very afternoon for a combi- bank to acknowledge his change-of- nation training seminar and vacation, address form. He talked to bank offi- so you'll need to leave as soon as you cials, and filled out new forms, and get the money order your boss has applied for another credit card, but mailed you. -
The New Zork Times Ask Duffy — P
“All the Grues ® Puzzle — pp. 7 & 8 That Fit, We Print” Sports — p. 6 The New Zork Times Ask Duffy — p. 5 VOL. 3. .No. 3 SUMMER 1984 INTERGALLACTIC EDITION YOU’RE ABOUT TO GET YOURSELF INTO VERY DEEP TROUBLE INFOCOM INTRODUCES ™ CUTTHROATS Nights on Hardscrabble Island are lonely and cold when the lighthouse barely pierces the gloom. You sit on your bed, thinking of better times and far-off places. A knock on your door stirs you, and Hevlin, a shipmate you haven't seen for years staggers in. "I'm in trouble," he says. "I had a few too many at The Shanty. I was looking for Red, but he wasn't around, and I started talking about.... Here," he says, handing you a slim volume that you recognize as a shipwreck book written years ago by the Historical Society. You smile. Every diver on the island has looked for those wrecks, without even an old boot to show for it. You open the door, hoping the drunken fool will leave. "I know what you're thinking'," Hevlin scowls, "but look!" He points to the familiar map, and you see new locations marked for two of the wrecks. "Keep it for me," he says. "Just for tonight. It'll be safe here with you. Don't let--." He stops and broods for a moment. "I've got to go find Red!" And with that, Hevlin leaves. You put the book in your dresser and think about following Hevlin. Then you hear a scuffle outside. You look through your window and see two men struggling. -
Michael Berlyn - Co-Designer of Dr
- Michael Berlyn - Co-designer of Dr. Dumont's Wild P.A.R.T.I. Michael Berlyn is a writer who turned to designing computer software and games in 1979. His career path is one of creative enterprise ranging from electric violinist to novelist to game designer. His unique approach to writing games has won him national acclaim from the Washington Post to Rolling Stone to Time Magazine. his energy and playful qualities have gained him a large following of game players. Michael's game writing career began with his fascination with the original adventure, Collosal Cave, in 1979. Playing the game till the sun rose, then taking it apart to learn it's internal mysteries, drove his new wife crazy, till she joined him in the fun. Michael read many programming books and learned BASIC well enough to try out his new skills on his own first adventure game. The home computer market was finding it's first explosive year, and the newlyweds found that with two writers in the family, a home computer as a welcome, tax-deductable expense. With two original science fiction novels sold and published that year, Michael worked on a third novel while writing his first adventure game, Oo-Topos. With a move to Aspen, Colorado and the founding of their first company, Sentient Software, the Berlyns began working together on game writing and design. Oo-Topos grabbed the attention of the public with professional quality prose and imaginative science fiction elements. It was released shortly after his third novel, Blight. Michael was well on his way to becoming the first writer to design, write and program computer games, giving his name an innovative edge in the market.