From: Bullard, Claude L (Len) (clbullar_at_ingr.com)
Date: 23 June 1998
> -----Original Message-----
> From: Chris Crawford [SMTP:chriscrawford_at_wave.net]
>
[Bullard, Claude L (Len)]
Glad to know you've joined us!
> >1. Is non-linearity in a story the same as interactive?
>
> I agree with you, non-linearity is not the same as interactive. Indeed, I
> wonder whether non-linearity really means anything. I suspect that it is a
> symptom of interactive systems, rather like the fact that all mammals
> radiate some heat, but heat radiation is not the same thing as mammalness.
>
[Bullard, Claude L (Len)]
In discussion, two meanings of non-linearity have been presented:
1 is easily understood. Two is understood but I know of no examples
where it is implemented. It implies evolution of character and environment objects, that is, as in behavioral cybernetics theories, when an environment changes, the inhabitant adapts itself or attempts to adapt the local environment. If a feedback relationship exists, then both change over time and sustain that cycle. In English, the story and the devices used to present is are so complicated, not even the author knows what it will do. ;-)
> >3. Can we create a story that is non-linear and still
> maintain the *compelling* aspects provided by pacing
> and surprise?
>
> Here I may be in disagreement with you. In the first place, I suspect that
> interactive storytelling will never have the polish and detail of canned
> storytelling, in much the same way that theater can never have the visual
> polish of cinema.
>
[Bullard, Claude L (Len)]
Theatre has several different characteristics one of which is that it is only loosely bound. That is, a performance is never repeated in complete detail. Movies are bound media.
> But theater compensates for the lack of visual polish
> (POV changes, facial closeups, etc) by the power of the real presence of
> the actors.
>
[Bullard, Claude L (Len)]
Note that VRML/3D can do some of this (POV, closeups, jump cuts). Theatre lacks many levels of subtlety in presentation that are possible in film. OTOH, given the current tools, I doubt we can do much of that in VRML anyway.
> It just means more to see real people rather than images on a
> film. Interactive storytelling takes this even further: the polish is even
> more reduced, but the power is enhanced by the interactivity.
>
[Bullard, Claude L (Len)] Enhanced how?
> >Here's a talking point to debate: the user
> >should not perceive the non-linearity. The program
> >should smooth over the decisions in the transitions.
> >To be satisfying entertainment, it should appear to
> >be linear.
>
> I would argue that, theoretically speaking, non-linearity is a property of
> an overall system rather than of an individual experience.
[Bullard, Claude L (Len)]
Yes. I agree.
[Bullard, Claude L (Len)]
> Only in multiple sessions does the non-linearity of the interactive system
> become
> apparent.
>
[Bullard, Claude L (Len)] This depends on the viewer. If we take the
definition of emergence, the single player may not be surprised, but the
author might. However, that is a moot issue.
> This suggests that we should not even attempt to make the experience of a
> single playing of a storyworld as good as a linear story -- that's using
> the beast for its weakness, not its strength.
>
[Bullard, Claude L (Len)] I agree and disagree. It is possible to make
the single play compelling as a linear story, but it requires a lot of
resources. The beast is the device. The devices are limited and the
kind of Question/Answer/Puzzle devices that characterize games which have storylines do have deus ex machina problems. VRML enables different control devices (eg, proximity sensors) that can be used to hide controls. len
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