creative language

Vespers is an interactive fiction game written in 2005 by Jason Devlin that placed first at the 2005 Interactive Fiction Competition. It also won the XYZZY Awards for Best Game, Best NPCs, Best Setting, and Best Writing. Set in a 15th century Italian monastery, it is chiefly a horror-themed morality game, where the player takes moral decisions, which then affect the ending. However, whilst playing the game, it isn't obvious that these are moral dilemmas, and the game actively encourages the player to take the evil path.

This multimedia narrative shortlisted for the 2010 New Media Writing Prize combines a variety of genres and forms to tell an engaging story. This murder mystery brings the protagonist back to a mansion and boarding school to investigate her father’s untimely demise. The narrative and graphic design of this linear hypertext borrows heavily from the detective board game Clue (aka Cluedo), yet its treatment of the material using videogame interfaces, e-poetic deployment of its language, and smartly integrated multimedia keeps it from seeming cliché. (Source: Leonardo Flores, I ♥ E-Poetry)

These soundpoems are interactive phonetic poems. Minimal abstract poetry. Games for sampled voice.

(Source: Author's description from Electronic Literature Collection, Volume Two)

Deep Surface is the monstrous progeny of a strange romance between a reading machine and a free-diving simulator. Literature at crush depth. Hypertext gets wet. Generically, it is yet another instrument: one of those things you can play (or play with), without playing a game. There are rules here, and procedures, and (as in Real Life) a more or less invisible scoring system; so astute players may be able to invent clever and even elegant strategies. But if you're not feeling astute, you can plunge in and have a dip, immersing yourself in what signs and symptoms may present themselves as you pass by, dreaming perhaps of meaning... till robot voices wake you, and you drown.

(Source: Author's description from Electronic Literature Collection, Volume Two)

Galatea is a work of interactive fiction set in an art gallery an undetermined amount of time in the future. The player takes on the role of an unnamed art critic examining works of personality referred to in the story as “animates.” Galatea is the name of one such animate however, unlike the other exhibits at the museum (which are forays into rudimentary artificial intelligence,) Galatea was a sculpted women who simply willed herself to life. The player must interact with Galatea through text commands until they get one of several endings.

It's hard to place Galatea in a single genre. With its “animate” art gallery one could place it in Science Fiction. It relates rather easily to Issac Assimov's works about artificial intelligence, sharing a similar atmosphere and similar thoughts on what it means to be human and what it would be like to be a conscious other, Galatea is fairly speculative in this regard. On the other hand one could say the work is more a piece of Magical Realism or Gothic Fiction, since Galatea's creation is miraculous and is the only thing that's really out of place with the world. Also like many Gothic fiction pieces the human psyche is rather thoroughly examined. The name Galatea is actually a reference to Greek mythology, something that this work seems to be rather fond of. In Greek mythology Galatea was a statue that came to life after her creator fell in love with her.

The tech at work beneath the text is fairly complex. It's not simply a dialogue tree with set responses and limited choices. The game tracks tension, sympathy, mood, and general conversation flow to give players a level of interactivity in conversation that is rarely seen in any examples of modern games. On top of this there are over 400 responses to words and 25+ unique endings. Its method of interaction is very similar to old text adventure games like Zork and its ilk, the player enters commands followed by key terms and the results are narrated.

Overall the work is objectively well written. Its lore of “animates” lends itself rather interestingly to the player. One may look at the work as an example of what interaction with an “animate” from the story's world might be like. Galatea the character being very similar to the “animates’” description from the story. The many varied endings and possible responses lends itself to a very individualized experience. No two readings would be exactly alike and each repeated reading builds upon the world’s lore and the characters of Galatea, the narrator, and Galatea's creator become more fleshed out and grounded. It uses multiple references to Greek mythology which helps give the work an atmosphere of mystery and a kind of oldness to its sci-fi themes.