Ernest Adams states that in interactive storytelling the player/audience commits to an agreement with the author. This agreement involves that the player will start following the story. For example, if the story begins at a train station, with a ticket to a train and the train about to leave, the player will board the train, instead of heading home, or starting to assault people at the station. On the other side of the agreement, the narrator will deliver the player an interesting story with interesting choices to make.
The Stanley Parable breaks the fourth wall, and actually toys around with this agreement. Continue reading “Metaplaying games”
For a few years now I have been teaching a course at University of Turku Department of Future Technologies, called Principles of Interaction Design. The course was originally inspired by Janet H. Murray’s book Inventing the Medium: Principles of Interaction Design as a Cultural Practice. It was soon amended by Cooper, Reimann, Cronin and Noessel’s book About Face: The Essentials of Interaction Design, as well as other material we had background in through our research background.
One important part of Murray’s book that firmly is a topic on the course, is the Models of Digital Interaction. Continue reading “Murray’s Models of Digital Interaction”
Following up on my earlier post, Aliens, AI and Aesthetics, I find it rather surprising that the only things I’ve seen rise up in the discussion, are the trolley problem, and a few doomsday prophets. I should be expecting to see the old debates about the existence of god and the issues of playing god give rise, as we discuss the creation of artificial sentience.
Early on one morning walk to work, I was thinking about the “miserable winning conditions” I mentioned on that earlier post. This lead me back to the old classic question: Continue reading “Playing god”
Here’s the optimistic posting I promised in my last posting, “Who decides what you see?” Have I understood it correctly from the involved documentaries, concerning the recently released sequel movie Blade Runner 2049, the original film in 1982 marks the beginning of dystopian science fiction movie culture, as distinction to the preceeding utopian science fiction, such as the original Star Trek series (and movies) and the original Battlestar Galactica series. We are living the era, when science fiction is dominated by dark colours and threats from outside our home planet, as well as from the technology we are building. Even Stephen Hawking is warning that the development of artificial sentience would become the end of humankind. I tend to disagree.
The first season of Star Trek introduced the Prime Directive, which emphasised the importance of not harming the development of less developed species. Continue reading “Aliens, AI and Aesthetics”
The Tommy Edison Experience is one of the Youtube vlogger channels I’ve subscribed to and tend to follow. Just today I saw them tweet about their latest video with a alert coloured headline: “Our channel is in trouble”. Yellow text on black background, a bit like the tabloids use on their posters.
The Tommy Edison Experience had noticed that people who have requested notifications for new postings on the channel, no longer got the notifications for each video. Continue reading “Who decides what you see?”
“A beginning is the time for taking the most delicate care that the balances are correct”, said Frank Herbert as the writings of the Princess Irulan of his science fiction book Dune.
When analysing an interaction system, one of the first questions I ask is: “Where does this story begin?” I find it all too often that a digital application’s initial screen has an excessively complex menu, where one doesn’t know which option one should take to start using it. My typical example is the Microsoft Outlook calendar, where one has menu options of something like “new meeting”, “new appointment”, and “new…”. If I want to mark my vacation to the calendar, is it a meeting, or an appointment? Behind the third option, I find actually the two earlier options repeated, for all that I see there. The counter example is Google Calendar, where there is one clear button in red colour, reading: “new…”. Once I click it, the system starts asking me sensible questions that I can answer. This button is, where the story begins, and it ends with a proper marking made in the calendar. Neat and tidy! This is a significant part of “onboarding”. Continue reading “A Beginning is a Delicate Time”
It’s been at least a year since I last played Assassin’s Creed III. I haven’t finished the story, and it’s likely that I never will. It’s also been at least half a year since I last played Skyrim. The same thing with that. For the time being I am using the little time that I have for videogames, on No Man’s Sky and Cities: Skylines. One reason, why I’m unlikely to go back to the unfinished games, is that after I’m through with these two, I’ll be probably starting on something new instead. Another reason is the main issue of this blog entry: I would need to re-learn all the moves used in those games and figure out what the story was and where I was at the story. When starting to play a new game, you have this phase called onboarding, where the game is easy and simple and teaching you more and more what it is all about. Now I am in the middle of it all in these games, and I have forgotten most everything that the game taught me to do in the game. And, like any other game, these game have no back-onboarding designed in them. Continue reading “Back-onboarding”