As a successor to my previous post, which was in the genre of “rushed-changelog scribbled in the five minutes before the plane lifts off,” I’d like to give more details about why Twine 2, having starting as solely Web-based, is now being pushed primarily as a native app — for desktop OSes, anyway. (Mobile ones? Maybe someday.)
The release notes for Twine 2.0.4 are relatively brief. Partly this is because I haven’t had as much time in the past few months to work on Twine as I had earlier in the year, but it’s also because a lot of that work focused on a single bullet point there: “Added experimental native app builds.”
There really ought to be a full-fledged README to go with these builds, but in lieu of that, here are some notes on what’s going on.
Last weekend, I was invited to help with a session at CoderDojoDC that focused on Twine. CoderDojoDC is more-or-less the modern equivalent of the computer club I went to after school days in elementary school — only instead of pirating Apple II games and messing around with AppleWorks and Logo, kids these days are learning Python and messing around with robotics. Progress indeed.
The word beta has been abused to the point that it is essentially meaningless, like HD or cloud, but I’m a bit of a traditionalist about it. To me, it means no more features until the real release, only fixes. It means we’re close to a final release. So it’s an exciting milestone for me.
I originally wrote this post for StoryCade.
There’s something unusual about the announcement of this year’s XYZZY Awards finalists. For the first time since since Inform 7 was released in 2006, most of the XYZZY Awards finalists were not created with it. In fact, this is the first time in the entire seventeen-year history of the XYZZY Awards that the plurality of nominees were not created with some version of Inform.
Mark Bernstein was recently interviewed by Exprima Media, and a good portion of what he talked about concerned Twine. If you’re not familiar with Mark, he’s the chief scientist at Eastgate Systems, which publishes hypertext works– and more relevant to the discussion at hand, Storyspace, a hypertext authoring tool that was created in the 80s. Among his remarks was this:
Twine has no model for building a literary economy.
I originally wrote this post for spectaclerock.com.
Something of a furor has erupted over some brash comments by Jonathan Blow in an interview with PC Gamer:
Adventure games are all confusion. If it’s text, it’s “Why doesn’t the parser understand me still?” So the core gameplay of adventure games is actually fumbling through something, right? And that’s true with modern [versions]. All the episodic stuff that’s coming out. And there’s a whole community that makes modern interactive fiction games and all this stuff. And it’s true for all these games.
He touches a nerve in the modern-day IF community. Bad parsers are what the heyday of interactive fiction is remembered for among mainstream gamers. Homestar Runner parodied this in Thy Dungeonman; lingering in the shadow of the first major East Coast IF meetup in years at PAX East was Action Castle, a live rendition of a text adventure which relished in classically hackneyed phrasings like “You see a thing here,” “Exits are west, east, and in,” and whose moderator gleefully retorted “I don’t know how to do that” or “You see no [whatever] here” whenever a player said a sentence more complicated than what a dog could comprehend. These parodies were affectionate, of course, but illustrative of a problem the IF community has struggled with since players first found themselves standing west of a white house with a small mailbox nearby. It’s not like that anymore.
I originally wrote this post for spectaclerock.com.
When a PC is powered on but it finds no disk to boot from, it says to you in gray letters: “No bootable device — insert a boot disk and strike any key.” A Mac shows instead an archaic icon of a floppy disk with a blinking question mark. If you turn on a Nintendo Entertainment System without inserting a cartridge first, its power light simply blinks on and off as your television set displays a gray screen. But — there is a subtlety here not often found in computers. If the NES senses a cartridge but cannot read its contents properly, it will sometimes show its initial screen but with corrupted graphics, or with the first note of its song strung out into an endless tone.
This is a harmless occurrence whose traditional remedy is taking out the cartridge and blowing into its contacts, to clear out any dust. It’s a familiar, comfortable ritual to anyone who owned a NES in its heyday, like cleaning your glasses or trimming your fingernails.
When I was a child, I once turned on my father’s Atari 2600 with a cartridge half-inserted by accident. Instead of displaying a message, an icon, or even corrupted graphics, it emitted an unholy, piercingly loud shriek.
I found out later that this process is called frying, and that if you do it skillfully, you can alter gameplay — by causing sprites to act contrary to their programming, or the world of the game itself to warp.
But as a kid, I was scared shitless by the sound.
This was originally written for gimcrackd.com. A postscript — the piece in question was A Kiss by Dan Waber.
To counterbalance the gloominess I’ve been posting about recently:
Last month, I got an email asking for help with Twine. It was running really slowly, the writer said, and it was nearly intolerable, working with the story map. After trading emails back and forth, I asked if I could look at the story file he was trying to work with, and he obliged. (I always feel a little strange asking for these things — at least I feel quite protective of my own work — but people have always been willing to share so far.)
I opened it to find a total spaghetti of nodes and links. All in all: 300-some passages, about a thousand links running between them. This was, to put it lightly, more than I had ever expected my poor little program to deal with. The lines running to the central node were so tightly clumped together, in fact, they formed a kind of moire pattern. This was the worst-case scenario made flesh. It took maybe two seconds to redraw the map — not that long in the grand scheme of things, but when you just trying to scroll around, get a sense of things, you know, actually do work — it was agonizing.
What caught my interest, though, was the content. I did not go poking around in it deeply — again I felt odd doing so — but I did want to see what some of the really critical nodes, the ones that caused the frame rate to plummet as soon as they came onscreen, were doing. So I caught the drift of it.
It was a love poem.
I came up with some quick optimizations to help him out — I had missed some very obvious things. For example, if a passage linked to the same place twice, Twine would actually go to the trouble of drawing the same line twice. This helped a little, but the final solution was to allow users to turn off some of the prettier features of the story map to get better performance.
I have a better solution in the works for the next version of Twine that should solve the problem entirely. (Briefly: it will save offscreen the parts of the story map that never change, so that each redraw of the map only manually draws what has changed — e.g. the passage you are dragging around, or the marquee selection you are making. Again, fairly elementary stuff.) I still hold onto that story file, mainly to test out optimizations, but also to remember what I’m doing helps people do real things, to make poetry even. There aren’t that many developers out there making things that people make poetry with. I feel lucky.
(Quoth jwz: “Your ‘use case’ should be, there’s a 22 year old college student living in the dorms. How will this software get him laid?” Easy question.)
This post was originally written for gimcrackd.com.
One maddening thing about reading a recent interview with Shannon Gilligan, one of the original CYOA authors, was how vague she was about her writing process. (To skip to that part, search for “every writer develops” on the page.) Basically, for her it seemed to amount to keeping a map. But… then what? How did she decide what branches to prune? Did she think about trying to keep characters consistent between branches? Lots of questions. Granted, all this happened more than twenty years ago, and memory often fails. But it’s this kind of inquiry that really piques my curiosity. There are tons of manuals on how to write — some of them are even good. There are almost none on how to write nonlinear text. (If you can think of exceptions or recommendations, please please please leave a comment.)
So to try to remedy it a little, I’m going to try documenting my own process, as I work. It’s a little scary because a) it feels awfully narcissistic — but then this is the Internet b) what if I fail? What if I give up? How embarrassing would that be? But Susan Gibb’s recent foray into writing a complete hypertext story every day… for 100 days… has inspired me to suck it up a bit.
So, let me tell you about this story. For now it is called mountain.tws, because that’s the filename and I haven’t thought of a real title yet and won’t for a long time. Here’s the story map; if you click on it, it’ll show you an exact word count. I have the story map zoomed out to where the text is greeked out because I’m kinda modest about it for now. The orange exclamation-point emblems show where I have unfinished business — e.g. links that don’t go anywhere yet. The box hanging out in the upper-right is a custom CSS style I wrote, because I want to stack my choices vertically on top of each other, whereas normally they get shown side-by-side.
Right now it is really linear — you can see the branches keep folding into each other. I am hoping that it will eventually become deceptively linear, because later on, the story paths will explode, and I feel like I need to give the reader a little grounding at first before throwing them into the deep end. Deceptive is actually a good word for this part of the story — on its face I think it will look like straight-up exposition to the reader, but I’m trying to embed lots of clues in the text for later on.
I am thinking of the piece as kind of a riddle (though not a puzzle). I see four endings right now, none really superior to the other, just different. I imagine that the first time through, the reader will hit an ending without really meaning to, and then see the message: You have found one of four endings so far. Restart? And then hopefully this will inspire them to go back and try to influence the story more consciously. That’s the ideal case for now. Maybe more careful readers will figure it out right away.
Things I’m worried about:
- My first passage is kind of long. I worry the rhythm of the story and click will be off. But I really like all the text, and again I think it helps root the reader. We shall see.
- Is Alice, one of the main characters, too nondescript at this point? I have to leave her ambiguous right now for an important structural reason (that I don’t want to talk about yet) but I need to give her some character. Female ciphers are lazy writing.
- Are my choices well-motivated? I have to cheat a little to keep the storyline braided the way it is, so things are not super-permanent in that a choice doesn’t cause a totally different thread of the story to occur. But I have to keep that as hidden from the reader as I can, to maintain the illusion. I’m tweaking things by having dialogue lines change based on choices, though the main line of narrative stays the same, which is cool — but I have to keep the characters in line without making them seem like they’re bumping up against invisible walls.
Things I’m thinking about:
- I have a pair of sentences I’m working towards: “You had been told that everyone has strange dreams the night before they walk the Pass, but you have none at all. You have never been a dreamer.” It’s like a tiny milestone to reach.