Interactive Fiction Development: Quest and Squiffy
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The Craft of the Adventure
The Craft of the Adventure Five articles on the design of adventure games Second edition 1 Intro duction :: ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :::: ::2 2 In The Beginning ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: ::: 3 3 Bill of Player's Rights : ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: :7 4 A Narrative... ::: ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :: 12 5 ...AtWar With a Crossword : : :::: ::: :::: :::: ::: :::: ::: :::: :::: :: 21 6 Varnish and Veneer : ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :::: ::32 1 1 Intro duction 1 Intro duction Skill without imagination is craftsmanship and gives us many useful ob jects such as wickerwork picnic baskets. Imagination without skill gives us mo dern art. {Tom Stoppard, Artist Descending A Staircase Making b o oks is a skilled trade, like making clo cks. { Jean de la Bruy ere 1645-1696 If you're going to have a complicated story you must work to a map; otherwise you'll never make a map of it afterwards. {J.R.R.Tolkien 1892-1973 Designing an adventure game is b oth an art and a craft. Whereas art cannot be taught, only commented up on, craft at least can be handed down: but the tricks of the trade do not make an elegant narrative, only a catalogue. This small collection of essays is just such a string of grits of wisdom and half-baked critical opinions, whichmaywell leave the reader feeling unsatis ed. One can only say to such a reader that any book claiming to reveal the secret of how to paint, or to write novels, should be recycled at once into something more genuinely artistic, say a papier-mach e sculpture. If there is any theme here, it is that standards count: not just of comp etent co ding, but of writing. -
The Christian Church and the New Religious Movements: Towards Theological Understanding John A
THE CHRISTIAN CHURCH AND THE NEW RELIGIOUS MOVEMENTS: TOWARDS THEOLOGICAL UNDERSTANDING JOHN A. SALIBA, S.J. University of Detroit OR MORE than a decade Western society, in particular the United FStates of America,1 has seen the rise and proliferation of religious and spiritual groups which the public has undiscerningly and indiscriminately labeled "cults." Many of the adherents of these new groups have come from the background of the traditional Christian churches. Most of them, by abandoning the beliefs and practices of their forefathers, have passed a negative judgment on the Christian Church and its relevance to contemporary life. The so-called cults have often been in the public eye because of the legal actions and Congressional investigations instigated by anticult organizations. Anguished parents, whose children have be come cult members, have turned to self-styled déprogrammera who have at times operated outside both civil and moral law. Yet the mainline Christian response to the new religions can, with few exceptions, be categorized as one of neglect and apathy. Though the churches have made extensive efforts to come to grips with the cultural upheavals of the mid-1960's,2 their attempts to meet the challenge of the cults have, on the whole, been slow, sporadic, and superficial. Many Christians, theologians included, have failed to grasp the significance of the new religious movements, which are already leaving an impact on society at large and on Christianity itself. It is unfortunate that we still lack a systematic treatment of the theological implications of these movements. The only concerted Christian response has come from evangelical Christianity, which has directed a considerable amount of literature3 to 1 See The Spiritual Community Guide (San Rafael, Calif.: Spiritual Community, 1978) and Gordon Melton, The Encyclopedia of American Religions 2 (Wilmington, N.C.: McGrath, 1978). -
List of Different Digital Practices 3
Categories of Digital Poetics Practices (from the Electronic Literature Collection) http://collection.eliterature.org/1/ (Electronic Literature Collection, Vol 1) http://collection.eliterature.org/2/ (Electronic Literature Collection, Vol 2) Ambient: Work that plays by itself, meant to evoke or engage intermittent attention, as a painting or scrolling feed would; in John Cayley’s words, “a dynamic linguistic wall- hanging.” Such work does not require or particularly invite a focused reading session. Kinetic (Animated): Kinetic work is composed with moving images and/or text but is rarely an actual animated cartoon. Transclusion, Mash-Up, or Appropriation: When the supply text for a piece is not composed by the authors, but rather collected or mined from online or print sources, it is appropriated. The result of appropriation may be a “mashup,” a website or other piece of digital media that uses content from more than one source in a new configuration. Audio: Any work with an audio component, including speech, music, or sound effects. CAVE: An immersive, shared virtual reality environment created using goggles and several pairs of projectors, each pair pointing to the wall of a small room. Chatterbot/Conversational Character: A chatterbot is a computer program designed to simulate a conversation with one or more human users, usually in text. Chatterbots sometimes seem to offer intelligent responses by matching keywords in input, using statistical methods, or building models of conversation topic and emotional state. Early systems such as Eliza and Parry demonstrated that simple programs could be effective in many ways. Chatterbots may also be referred to as talk bots, chat bots, simply “bots,” or chatterboxes. -
The Israeli Center for Victims of Cults Who Is Who? Who Is Behind It?
Human Rights Without Frontiers Int’l Avenue d’Auderghem 61/16, 1040 Brussels Phone/Fax: 32 2 3456145 Email: [email protected] – Website: http://www.hrwf.eu No Entreprise: 0473.809.960 The Israeli Center for Victims of Cults Who is Who? Who is Behind it? By Willy Fautré The Israeli Center for Victims of Cults About the so-called experts of the Israeli Center for Victims of Cults and Yad L'Achim Rami Feller ICVC Directors Some Other So-called Experts Some Dangerous Liaisons of the Israeli Center for Victims of Cults Conclusions Annexes Brussels, 1 September 2018 The Israeli Center for Victims of Cults Who is Who? Who is Behind it? The Israeli Center for Victims of Cults (ICVC) is well-known in Israel for its activities against a number of religious and spiritual movements that are depicted as harmful and dangerous. Over the years, the ICVC has managed to garner easy access to the media and Israeli government due to its moral panic narratives and campaign for an anti-cult law. It is therefore not surprising that the ICVC has also emerged in Europe, in particular, on the website of FECRIS (European Federation of Centers of Research and Information on Cults and Sects), as its Israel correspondent.1 For many years, FECRIS has been heavily criticized by international human rights organizations for fomenting social hostility and hate speech towards non-mainstream religions and worldviews, usually of foreign origin, and for stigmatizing members of these groups.2 Religious studies scholars and the scientific establishment in general have also denounced FECRIS for the lack of expertise of their so-called “cult experts”. -
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. -
The Post Infocom Text Adventure Collection
The Post Infocom Text Adventure Collection Many of us played and loved the text adventures produced by Infocom in the 1980’s. They were rich in story and puzzles, and contained some excellent writing. In the years since Infocom’s demise in 1989, there have been a lot of good games produced using the Z-Machine - the game format that Infocom was using. This gives us a chance to make these modern-day games run on the computers of the 80’s, like the Commodore 64. I decided to create a collection of Z-machine games for the C64, and this is it. All in all, it’s 31 games, released in 1993-2015. Each game has been put into its own directory, in which is also an empty disk for game saves and a file called AUTOSWAP.LST to make life easier for people using the SD2IEC diskdrive substitute. If you haven’t played text adventures before, or feel that you never got the hang of it, you should read the chapter How to play a text adventure. If you want more of a background on Infocom and the game format they used, you should read the chapter about The Zork Machine at the end of this document. There is also a chapter about the process of porting Z-machine games to the C64 and, finally, a chapter about writing your own games. I created this documentation as a PDF, so that you could easily print it out and keep it nearby if you’re enjoying the collection on a real C64. -
Download Twisty Little Passages: an Approach to Interactive Fiction
TWISTY LITTLE PASSAGES: AN APPROACH TO INTERACTIVE FICTION DOWNLOAD FREE BOOK Nick Montfort | 302 pages | 01 Apr 2005 | MIT Press Ltd | 9780262633185 | English | Cambridge, Mass., United States Slashdot Top Deals I got about a quarter of the way into this and had to stop. In Montfort's words, Infocomwhich was founded June 22, by Lebling, Blank, Anderson, and seven other MIT alumni, "began work on the foundation of IF while the plot of ground that it was to be built upon had not been completely surveyed. Slashdot Apparel is back! Genre fiction is a type of literature, and trying to actually seperate one from the other is a fool's errand. I think what you may be getting at is the fact that writing a compelling IF world is literally NP hard. Hitchhiker's Guide project, which began in February and was slated ambitiously to be completed by the following Christmas. Friend Reviews. Instead, what this book really is is a very comprehensive history of the form. There's really not that much meat there; Montfort goes into a detailed history and categorization of riddles that isn't all that relevant to IF. Played them, loved them, but goddam that transparent crystal 3D mze was a killer. Nick Montfort. Montfort then discusses Adventure Twisty Little Passages: An Approach to Interactive Fiction its precursors including the I Ching and Dungeons and Dragonsand follows this with an examination of mainframe text games developed in response, focusing on the most influential work of that era, Zork. The reviewer's memory of Monty Python's a little weak. -
Shaping Stories and Building Worlds on Interactive Fiction Platforms
Shaping Stories and Building Worlds on Interactive Fiction Platforms The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Mitchell, Alex, and Nick Monfort. "Shaping Stories and Building Worlds on Interactive Fiction Platforms." 2009 Digital Arts and Culture Conference (December 2009). As Published http://simonpenny.net/dac/day2.html Publisher Digital Arts and Culture Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/100288 Terms of Use Article is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use. Shaping Stories and Building Worlds on Interactive Fiction Platforms Alex Mitchell Nick Montfort Communications and New Media Programme Program in Writing & Humanistic Studies National University of Singapore Massachusetts Institute of Technology [email protected] [email protected] ABSTRACT simulates an intricate, systematic world full of robots, made of Adventure game development systems are platforms from the components and functioning together in curious ways. The world developer’s perspective. This paper investigates several subtle model acts in ways that are mechanical and nested, making the differences between these platforms, focusing on two systems for code’s class structure seemingly evident as one plays the game. In interactive fiction development. We consider how these platform contrast, Emily Short’s Savoir-Faire (2002), written in Inform 6 differences may have influenced authors as they developed and of similar complexity, exhibits less obvious inheritance and systems for simulation and storytelling. Through close readings of compartmentalization. -
Search-Based Drama Management in the Interactive Fiction Anchorhead∗
Search-Based Drama Management in the Interactive Fiction Anchorhead∗ Mark J. Nelson and Michael Mateas College of Computing Georgia Institute of Technology Atlanta, Georgia, USA fmnelson, [email protected] Abstract towards a story that maximizes the evaluation function, tak- ing into account any effect on evaluation the DM actions Drama managers guide a user through a story experience by themselves may have. DM actions might include things such modifying the experience in reaction to the user’s actions. as causing a non-player character to bring up a particular Search-based drama management (SBDM) casts the drama- management problem as a search problem: Given a set of conversation topic, causing certain parts of the world to be- plot points, a set of actions the drama manager can take, and come inaccessible, or leaving items where they’re likely to an evaluation of story quality, search can be used to optimize be found by the player. Search over possible choices of DM the user’s experience. SBDM was first investigated by Peter actions and the possible resultant sequences of plot points Weyhrauch in 1997, but little explored since. We return to (subject to a model of what the user is likely to do) is run at SBDM to investigate algorithmic and authorship issues, in- each step to choose the DM action that maximizes expected cluding the extension of SBDM to different kinds of stories, plot quality. This all takes place in an abstract model, con- especially stories with subplots and multiple endings, and is- nected to the real game by passing messages back and forth, sues of scalability. -
TADS-A CFD-Based Turbomachinery and Analysis Design System with GUI Volume I--Method and Results
j/l _ 7 NASA Contractor Report 198440 ( -_ e/ i" TADS-A CFD-Based Turbomachinery and Analysis Design System With GUI Volume I--Method and Results D.A. Topp, R.A. Myers, and R.A. Delaney Allison Engine Company Indianapolis, Indiana (NASA-CR-198440) TADS: A CFD-BASED TURBOMACHTNERY AND ANALYSTS DESIGN SYSTEM WITH GUT. VOLUME 1: METHOD AND RESULTS Final Report (A1|ison Engine Co.) 121 p G3107 0099810 December 1995 Prepared for Lewis Research Center Under Contract NAS3-25950 National Aeronautics and Space Administration Contents 1 Summary 1 2 Introduction 3 3 Analysis Coupling 7 3.1 Solution Procedure ........................ 7 3.2 Programming Philosophy and Standards ............ 10 3.2.1 File Naming Convention ................. 11 3.2.2 Data Standards ...................... 11 3.2.3 Coordinate Systems .................... 12 3.2.4 Shared Routines and Data ................ 13 3.3 Input Requirements ........................ 13 4 Development of Program Modules 15 4.1 INTIGG .............................. 15 4.2 TIGGC3D ............................. 19 4.3 ADPAC Input Generation .................... 20 4.4 BODYF .............................. 22 4.4.1 Airfoil Thickness Determination ............. 22 4.4.2 Mean Stream Surface Determination .......... 23 4.4.3 Carter's Rule ....................... 26 4.4.4 Mean Stream Surface from MEANSL .......... 26 4.5 ADPA C .............................. 27 4.5.1 Body Force Implementation ............... 27 4.5.2 Verification of Blockage Model .............. 30 4.5.3 Verification of Body Force Formulation ......... 30 4.6 Streamline Finder and Airfoil Slicer ............... 36 4.6.1 RADSL .......................... 36 4.6.2 SLICER .......................... 40 4.7 GRAPE .............................. 40 4.8 RVCQ3D ............................. 44 4.9 Locating the Mean Stream Surface ............... 44 4.9.1 RESTACK ........................ -
Guide 2020 Games from Spain
GUIDE GAMES 2020 FROM SPAIN Message from the CEO of ICEX Spain Trade and Investment Dear reader, We are proud to present the new edition of our “Guide to Games from Spain”, a publication which provides a complete picture of Spain’s videogame industry and highlights its values and its talent. This publication is your ultimate guide to the industry, with companies of various sizes and profiles, including developers, publishers and services providers with active projects in 2020. GAMES Games from Spain is the umbrella brand created and supported by ICEX Spain Trade and Investment to promote the Spanish videogame industry around the globe. You are cordially invited to visit us at our stands at leading global events, such us Game Con- nection America or Gamescom, to see how Spanish videogames are playing in the best global production league. Looking forward to seeing you soon, ICEX María Peña SPAIN TRADE AND INVESTMENT ICT AND DIGITAL CONTENT DEPARTMENT +34 913 491 871 [email protected] www.icex.es GOBIERNO MINISTERIO DE ESPAÑA DE INDUSTRIA, COMERCIO Y TURISMO EUROPEAN REGIONAL DEVELOPMENT FUND A WAY TO MAKE EUROPE GENERAL INDEX ICEX | DISCOVER GAMES FROM SPAIN 6 SPANISH VIDEOGAME INDUSTRY IN FIGURES 8 INDEX 10 DEVELOPERS 18 PUBLISHERS 262 SERVICES 288 DISCOVER www.gamesfromspain.com GAMES FROM SPAIN Silvia Barraclough Head of Videogames Animation and VR/AR ICEX, Spain Trade and Investment in collaboration with [email protected] DEV, the Spanish association for the development and +34 913 491 871 publication of games and entertainment software, is proud to present its Guide to Games from Spain 2020, the perfect way to discover Spanish games and com- panies at a glance. -
Coercive Change of Religion in South Korea»
Coercive Change of Religion in South Korea» A report on the practice of kidnapping, confinement and forced de-conversion in South Korea. March 2020 Human Rights Without Frontiers 4 Coercive Change of Religion in South Korea By Willy Fautré Human Rights Without Frontiers 2020 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from Human Rights Without Frontiers International or Bitter Winter. Requests for permission to make copies of any part of this publication should be sent to the address below. Human Rights Without Frontiers International Avenue d’Auderghem 61/16, 1040 Brussels, Belgium Tel. (+32) 2 345 61 45 Email: [email protected] – Website: https://hrwf.eu Table of Contents Foreword ................................................................................................................................... 1 PART I Introduction .................................................................................................................... 5 What is the Shincheonji Church? ................................................................................... 7 Family kidnappings and coercive de-conversion ........................................................... 9 ‘Anti-heretical counseling centers’ ............................................................................. 13 International conference in Seoul 2019 ......................................................................