IF works

Interactive fiction has been developing over years. Most of it has gone from wrting on paper to computer browsers. I belive that in interaactive fiction could begin to make a push onto the mobile gaming community.   I think mobile did create a lot of new spaces for Interactive fiction, and there were a number of successes for games that were fundamentally IF, with some really good art direction and a heap of a lot of content and polish. That push basically already happened, though, in my opinion. I think you can always carve your own lane with an amazing new game, but I think that the "commercial" potential of IF is always going to be in bringing high-quality storytelling to more graphical games. A few companies have tried to come up with a great mobile platform for IF that connects authors to a good mobile deployment and profit model, but I haven't seen anyone quite accomplish it. There's one person I've seen be moderately successful making Twine games for a Patr

Netflix is calling Bandersnatch an "interactive movie," however, it's difficult to not associate it with video games like Telltale's The Walking Dead, or Quantic Dream's Detroit Become Human. While the characters in games are digital avatars, the story-driven dynamic in Bandersnatch is the same - every decision you make creates new possibilities for your character that will determine how his or her story unfolds, eventually leading to a variety of endings. Each unique outcome depends on pivotal decisions you make throughout the story. If you're not an experienced gamer, don't worry - Netflix does a solid job of explaining how the experience works. Before Bandersnatch begins, you're given a brief tutorial on what to do using your remote, game controller, or touchscreen, depending on which device you're on. Once you get the hang of it, it's all very self explanatory.  Whenever you're about to make a decision that affects the narrative, there&

  Galatea alters the typical interactive fiction game mechanics by concentrating instead on the player's interactions with a single non-player character, the  Galatea. Much of the interest of the piece derives from the ambiguous nature of the player-NPC dialogue. The form of the conversation and, indeed, the nature of Galatea herself shift depending on the focus the player places on certain aspects of the character's personality. Numerous endings are possible. Gameplay centers around the developing dialogue between Galatea and the player when asking about topics in the previous conversation. Two commands, "think about" and "recap", are provided to keep track of what has already been said. The former is also used to advance the storyline, as the player character draws conclusions about the story as it has unfolded to that point. As a way to enhance immersion, the game also encourages using sensory commands (touch, sounds, looks,) adding a physical feeling to

     Unlike my past blogs where I review an Interactive Fiction game and provide a screen cast of me playing the work provided, today I will be reviewing the novel call Ready Player one.    Ready Player One  by Ernest Cline has an intriguing premise: a treasure hunt filled with puzzles and pop culture references in a massive virtual reality, multiplayer game. The world that Cline creates can appeal to many different types of audiences and has many different topics.   In  Ready Player One  people adopt avatars that can represent who they want to be, not how they actually are in reality. This tension between virtual worlds and reality runs throughout the book, and you could definitely read  Ready Player One  through a a enhanced lens about the nature of technology and reality. In this past year due to the pandemic, people have been more tethered than ever to technology, either with fearful Twitter or perpetual Zoom meetings, and  Ready Player One ’s idea of the virtual world replacing th

Stripped to its core,  Invisible parties  is an escape game created by Sam Kabo Ashwell. However, it's about much more than this. Enticed, against your better judgement, to come to a party, you have been trapped in a "tangle" a tightly packed group of simulated locations, each having the appearance of a specific type of social gathering. A wedding, a wake, an office party, and so forth. As you move through these locations, so does you lover, Jave. But the tangle obstructs contact with her, and although you can locate ways out, you cannot take them. Can you "disrupt" the tangle sufficiently to escape?  Play Invisible Parties here.        Play does not rely on the traditional IF props similar to keys, hidden doors, secrets to be discovered, but on learning to use Jave's and yours skills to discover how the tangle's logic at points where it is weak. There are many possible solutions, and although all are essentially identical in their logic, the detail of e

Plimptons revenge by Dinty Moore, this piece of interactive fiction is different from any I've seen before. It's essentially a story using google maps! Each place you click on has a different part of the story attached to it. You can see where the man traveled and what happened at each place. At the end you can see where he meets the man he took the journey with, again and he said he actually remembered him as the man who "drove him around".  The first piece, “Mr. Plimpton’s Revenge”, is about a college student that was given the job of driving a important journalist, Mr. Plimpton, from the airport in Pittsburgh and chauffeuring him around. The problem the student encounters happens the night before, partying and taking drugs that make him not ready or presentable for chauffeuring the author. After the day and thinking he makes a fool of himself, the rest of the piece takes place years later when the student runs into Mr. Plimpton. I do not want to ruin the end, but t