Interactive Fiction- Julia Danielson

It's interesting thinking about video games from an academic perspective. Although IF was created outside of an academic context, it's amazing to read how it's developed and matured into a more e-literature platform. I liked how Retteberg explains how much of the early works of IF were riddle and puzzle ridden, which is "a reasonable challenge" where "all the information necessary to solve a riddle is included in the text provided" (89). Furthermore, looking at NPCs was an entertaining section. Games can be very inconsistent in the sense that some interactions with NPC are captivating, meaningful, and hold depth while others are like "conversing via telegraph with a precocious chimpanzee who has worked out a compass and the possession of objects" (90). What determines the complexity of an NPC is ultimately the amount of vocabulary it's given. I love the type of games that can be sarcastic and witty when an irrelevant or unknown sentence is plugged in, makes the game very engaging! 

https://iplayif.com/?story=https%3A%2F%2Fifarchive.org%2Fif-archive%2Fgames%2Fzcode%2FSavoir-Faire.zblorb 

Retteberg repeatedly mentions Emily Short throughout chapter four and her contributions to interactive fiction.  I was intrigued to dive deeper into one of her works when Retteberg explains how Short emphasizes "character over plot, and conversation over puzzle solving" and uses "lusher and more precise than that of many other IF developers. Her works are played as games but she is first and foremost a storyteller" (100). I took a look at her 2002 game, Savoir-Faire. Compared to Zork, the game opens up with more of a story and context. The scenery is well established and you are placed into a beautiful garden in France. I knew the backstory, so finding money and treasure felt more purposeful. The game reminds you what room you're in, how many moves you made, and what your score is. I never got a point for scoring, but I'd imagine you'd get a point when you successfully open a door or a box or something. I think I mostly liked the aesthetics in this game of running around a French mansion and going through the gardens. I felt like I could really get lost in the game and play for a long time, just by the welcoming nature of the setting Short creates. The idea that Short "is not really designing games to be won or lost, but worlds to be experienced, interacted with, and understood" doesn't sound too rewarding, but is very captivating. 

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