REALITY?: Military Honors

My father-in-law spoke very little, was not a man for small talk.  The sixteen years of Monday night dinners I came to call "The Longest Hour."  But he would get going on the war–the big one–WWII.  His face would light up and he’d tell of the cold, the finagling for food and cigarettes, the devastation of Europe’s cities, the landing at Normandy.  He’d break into songs played by Glenn Miller, or sit in his car in the driveway listening until the CD stopped before he’d struggle out and shuffle in to visit.

As he lay in the flag-draped casket, the big bands played for him one last time.  "Hold That Tiger" caused some giggling, but it was so very much him.  At the cemetary, old men in uniform, stood straight and tall, though some amount of belly hung over their belts, as proud of their military service as he was.  Shots were fired, piercing the morning with their short bursts of life.  Solemn salutes to the man who was one of their own, a brother in service to the U.S. of A.  The quiet folding of the flag which was given to my husband as the eldest son.  "Amazing Grace" drifted over the hills from a bagpipe, and the bugle played Taps. 

War is never a good thing, but when it becomes a necessity to defend and protect, and when there are men who proudly step up to offer their lives in answer, it is an example of caring and brotherhood that no amount of useless talk can replace.

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REALITY?: The Wake

They come because he was one of their own, a friend from decades ago they hadn’t seen for many years, a comrade from the War.  Some wheel in with walkers, some with knees too stiff to bend and kneel they stand and look down at him in the casket.  Still and quiet, expressionless and yet expression in their every slow step taken as they turn to try and recognize the children they remembered in the grownups in the room.

It seems like only yesterday, they think, and tomorrow’s coming soon.

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NEW MEDIA: The Watchmaker – Some Thoughts

Still haven’t had a chance to do much more than walk around, but several things struck me on this game. 

First, the graphics:  Nice surroundings, but why the blockheaded protagonist?  Wouldn’t someone tell the artist that it’s a bit misshapen and weird?  This points out the question of collaboration–which of necessity these game/stories must be–and how teams work together and perhaps, choose leaders and ideas, or as in this case, the final graphics.  It makes me wonder too about the evolution of the team;  certainly an artist doesn’t get more proficient, as it is a style as much as skill.  Does  a better artist cost more?

The other strange thing about Watchmaker is that there are two main characters, and they can’t always interact with each other.  For example, as Darrel (me) was walking (and dancing!) around the hallways, he passed by Victoria many times, but she stood there like a statue, not even the moving or pacing that I’ve seen in other videos.

But then again, at least nobody’s coming after me.   

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LITERATURE: Love in the Time of Cholera – Magical Realism

Ah, Marquez does not disappoint:  Soon after she has spurned her long-time love, Fermina Daza comes into contact with Dr. Juvenal Urbino whom she will eventually wed.  But the games must be played.  They meet on a professional call he makes to her home when she is taken ill.  He becomes infatuated with her as did that loser, Florentino Ariza, but things do not go well.  She will not see him, and he sends her letters and small gifts that are unacknowledged by the proud Fermina who while curious, is angry.  Then this:

This conviction became even more bitter after the fear caused by the black doll that was sent to her without any letter, but whose origin seemed easy enough to imagine:  only Dr. Juvenal Urbino could have sent it.  It had been bought in Martinique, according to the original tag, and it was dressed in an exquisite gown, its hair rippled with gold threads and it closed its eyes when it was laid down.  It seemed so charming to Fermina Daza that she overcame her scruples and laid it on her pillow during the day and grew accustomed to sleeping with it at night.  After a time, however, she discovered when she awoke from an exhusting dream that the doll was growing:  the original exquisite dress she had arrived in was up above her thighs, and her shoes had burst from the pressure of her feet.  Fermina Daza had heard of African spells, but none as frightening as this.  (p. 125)

It turns out that Dr. Urbino had not sent the doll, but what does this mean?  I love the way that Marquez sneaks something like this into what heretofore had been pretty straight story.  And, I know it will come up again somewhere in the story and its symbolism will be made clear.  It is the rising up to the heavens of Remedios the Beauty while folding sheets.

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STORYTRON: Learning Aids

Maybe it’s me, but I find that while the tutorials and informaton on the Storytron site do explain things pretty well, I need additional right-at-hand condensed notes.

I did make a manual up for all Storytron info, but in addition, I’m putting together a glossary and get this–a map of some sort to again, have all the info on a single sheet and handy.  Sort of "the dummy’s guide" to Storytron.

While I do wish the software for the program itself were already available, I probably would not be ready yet to play it until I’m more at ease with the writing end of it, which is the SWAT portion of the whole picture.  I do think that it was wise for the creators to offer it at this early stage; it will be helpful to both them for feedback and the user for practice.  I’m hopeful however that the rest will be forthcoming soon.

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REALITY?: Education of Many Hats

With one father newly gone, and the other spinning in his grave, I think of time and how important it is to spend it well.

After two years, and in the middle of preparing for another sad goodbye, the lawyers come up with another illegal proposal: to sell all the property from my dad’s estate to my sister.  This, while we have a legally signed contract on a portion of it.  I realize that there are ways around it, if the current buyer agrees, but it is not, to my knowledge, a legal nor ethical thing to offer as a solution without that contingency.

But then, after paying the plumber to fix something in the bathroom that both he and my husband insisted was the cause of the leak, I paid him to come in and fix it again; exactly where I said it was leaking from.

One thing to learn from experiences like this, or maybe two:  first, don’t always trust professionals to know what they’re doing; and second, while many are inspired by someone who excels in their field to follow that goal, if you’re young enough, think of being inspired instead by the doofuses and choose that path to make a better and more honest world.

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STORYTRON: Learning and Story

A large part of the initial problem in learning Storytron is the language used within the program–and I’m not questioning the choice of the creators; in fact, I trust that they have explored all possibilities and for the program to open itself up to full use, the language was carefully considered.  Therefore, and they do warn of this, a writer or user must first spend quite a bit of time learning and often relearning or reassigning meaning to words used in the commands.  "Role" for example, means point of view, and it will take into consideration who and how any particular character will react in an event.

The "Event" is the situation or current action, and must consist of subject, verb, and direct object.  In Storytron, the subject will always be a character, as will the direct object–people relating to people.

Operators are programs using arguments to come up with output.  But the arguments are not disagreements per se, but possibilities that either match or don’t match.

It’s all very confusing and the learning process–for me, at least–is slowing down the actual working with the SWAT program.

Not unusual; I remember having trouble with some literary terms that seemed contrary to their less formal or colloquial use.  It takes a while and almost a conscious effort to remember that this doesn’t mean this here, but means that instead.

As far as selecting a story or scenario, I’m going to work a bit on this story, Faith, and prepare it for when I’m ready to really start working with Storytron on a more defined basis once I am more comfortable with the controls.  While it is obviously way too soon to write the story for the program, I think that if I use the situation and the characters planned for this story in the learning process then I will have some sort of framework for the verbweb and idea of characters in mind rather than randomly selecting options.  It should, if I’m guessing correctly, add focus to the learning and perhaps give clues along the way of how the program is working together to form a cohesive whole.

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REALITY?: Weather Changes

There is a shifting of the earth, the slightest change in placement in time as waterlogged from rain, it hesitates in its rotation and slips the slightest bit backward on its axis.

And no one’s noticed except the cricket somewhere in my shop loudly chirping his confusion at this turn.

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NEW MEDIA & STORYTRON: Facade

I played another round of Facade this morning, and rather than aggressive play, was more passive in my responses.  Of course, after you’ve played a few games you do catch on to the restrictive manner of interactivity; the program is cued for certain catch or key words, such as "divorce" say, and in effect, what really decides the turn of events is your responses to specific questions that Grace or Trip ask the player/reader. 

What they’re looking for is a yes/no answer that will decide, according to the coded input, if you are agreeing with Grace or disagreeing; so that each of the two main characters more or less are on a "point" system that the character will recount back to you verbally and you realize that there and then, their next moves have been prescripted.  It’s all about taking sides (which ain’t such a good thing to do particularly in the marital arguments between a couple who are your friends).

Storytron is going to be much more diverse and unknowable to even the writer as the key actions are built upon each preceding action without as limiting a range of true/false statements.  It’s not clear to me as yet–I have to read and learn some more–exactly how the twists and turns of character responses will tie in to each other but the potential for variety is great. 

Never though, is the creator/writer completely without some measure of control.

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NEW MEDIA & STORYTRON: A Note on Action-Packed

This thought came up in a discussion but wanted to include it here as part of the new media and Storytron postings for record purposes.

The main attraction of work such as Half Life 2, Silent Hill series, etc., is not just in quest but also in action.  Storytron appears to be based on choices of action and reaction, though not flashing lasers in confrontations and fast-paced chases and escapes, but rather story.  But there is still the question of constant action and while for some this provides the satisfaction of play, when we are looking to refine new media by the inclusion of story, non-stop action may not be what we’re looking for. 

In traditional text, as well as film story, pacing is a vital element used effectively to enhance the experience.  While I’ve left my protagonist standing in front of a closed door in Silent Hill for example because I suspected there was trouble on the other side and it gave me (as me, in my reality) time to catch my breath and prepare, game play would dictate that I open that door as soon as I come to it. 

Some measure of pacing is built into these storygames–walking the streets or exploring rooms–but there is always the level of anticipation cranked up to high.  If you don’t move the character around within the storyworld, or, as in Facade, interact with the players, it just doesn’t work. 

Maybe all I’m discovering here is that is some ways at least, text in book form may hold some advantages in both writing and reading story.

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STORYTRON: Again, The Influence of Time

I realize that in pursuing this project while in the middle of exploring the reading and writing of hyperfiction will cause some  conflicts in thinking and planning, even while the two are of the same purpose–that Storytron is in fact hyperfiction in its visual form–that purpose being to allow reader interactivity and creative input.  But a thought just occurred to me relative to my recent questions about the element of timeline within Storytron. 

My approach to writing in hyperfiction, in preparation of application using Flash8, was directly related to place in time, past, present and future, and the links themselves were based on words that held relevance in the stories of those time periods:  corn, eggs, sleep, etc.  In other words, the main characters involved were three people affected by their choices in their past and how their present was affected and naturally, their future will be. 

But in Storytron, unless I haven’t gotten to that element yet and it hasn’t been made clear, the paths do not go beyond the immediate (except perhaps in speculation), nor link back to past actions.  While it is not necessarily a big drawback if I find this to indeed be the case, it is again a restriction of the medium, just as the environment or setting appears to be limited to the stage area.

I may, of course, be wrong in this and merely have not explored deeply enough to discover the possibilities.  But it sure shoots the opportunity of using this particular work in Storytron all to hell.  It is obvious that certain story type must be geared to the medium, and specific mediums are particularly suited to certain stories.

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REALITY?: The Curtain Falls

My father-in-law died a little over an hour ago.  It is strange to be there at the very moment that life transforms into death.  I stood by his side, combing my fingers through his hair, silent.  They say the hearing is the last to go and I remember with my own mother, I talked to her; just little things, but I think she heard.  She died seconds after I promised her we’d take good care of dad.

But tonight with Frannie, it seemed so out of place because he was very hard of hearing, half reading your lips and his eyes were closed, already in a coma that came on suddenly just a little while before.  Fairly screaming out I love you, or Jimmy’s here, and asking him to wait for the others–John and his wife, who made it there in time, Diane and Marilyn who were only minutes late, and Janet who was an hour away.  It sounded crass in the silence of the room.  Jim was nervous, not knowing what to do.  Just hold his hand, I told him.  Then waiting.  The four of us watching an old man slowly leaving without moving at all.  Several times I checked his pulse, surprisingly strong for one whose breaths were so weak they were imperceptible.  Then the last time, there was no pulse at all. 

Privileged to be there at that very instant of metamorphosis, and yet so quietly a change for such a monumental step from life to death.

I’ll miss him.  I’m grateful to him for giving me his son.  I want to thank all of you who offered your wishes and prayers back in March when he was first taken ill.  He wasn’t uncomfortable all this time, the cancer spread and only caused him pain the past few days.  He left us quickly and peacefully, and I’m sure your prayers did help.

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NEW MEDIA: The Watchmaker – Control

So it’s been a while since I’ve had the time to play any of the video narratives, but I did get a little further into this one today.

The graphics are nice, the characters a bit rough looking–not quite as nice as Silent Hill, but the settings are decent.  I’m back to learning the maneuvering of the characters, and still manage to have the main character, Darrel Boone doing the moonwalk and walking into walls.  The audio is not polished, but good enough.

The story will be the usual search–not for treasure but rather for a dangerous machine that must be stopped, with the added element of time deadline.  The setting is a castle, and there promises to be some bad guys–but normal bad guys of the human variety. 

It’s going to take a bit of gameplay to get my fingers working the controls, as well as remembering the keys to get to the menus, etc.  but it’s all a learning process.  Hopefully I’ll get smooth enough to get the protagonist in a forward-moving line of walking soon, since I know eventually he’ll need to run.  And yes, I had him do a little dance in the hallway, but that’s just a case of practice makes perfect–for me, not him.

This looks like a good one to get my feet back into this form of interactive story.

Oh, and Victoria Conroy, a lawyer, is Darrel’s partner in this.  Her birthday happens to be the same as mine and there’s a character named Otto.

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NEW MEDIA: Facade – A Return Visit

Well, I got a call from Trip to come over and visit him and Grace, and as it happens, it was the tenth anniversary of their meeting.  And boy, did I ever know it would come to this.  That bitch stole him from right under my nose–I introduced them and the poor schmuck fell pretty deep for the sophistication act.  He’s been trying ever since to measure up, and tonight it just all fell apart.  They had this big argument, and this time, I did the maneuvering and guess what…Grace walked out!

And, I’ll be moving in tomorrow.

In playing Facade after so long, I immediately recognize the frustrations that soon overcame the awe.  Once you get over the incredible programming work that has gone into projects such as this, it gets down to this:  Is it entertaining? 

When you use what’s out there in gaming, Facade is primitive in graphics in comparison.  But the purpose of the piece is that it is a step closer to real interactive play.  Unfortunately, while the concept is there and working, the slowness of reactions–on the player’s part because you can’t always type fast enough to give clear responses that are readable by the program.  Many times I was misinterpreted by Grace or Trip during the conversations, or my responses were lost in the timed, scripted dialogue to minimize "downtime" and to make it a more realistic visit.  However, Trip never did give me my drink; instead, carrying two glasses around with him for half the visit.  Grace seemed more antagonistic right from the beginning, perhaps because I hugged Trip, but I did hug her first, and attempted to comfort her as she built up her anger at Trip.  It was a fun trip to go through again, almost a year after my first introduction to this couple, but I suppose since I had played it so many times for several weeks back then, I was not disposed to keep at this time.  But there is a lot to learn from Facade, and it will always be a vital step in the direction taken towards the future of new media.

I do need to check the site and find out if they’ve made any changes and upgrades to the program, or come up with something new since.

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INTERACTIVE FICTION: Book and Volume – One Down

Well, with  a little bit of time and the recall of "go north" I found and completed my first task and refired up a computer server.  Wendy, it seems, is the computer name, so I wasted some time attempting to strike up a conversation there.  Knowing this, it’ll go easier with Nora, Ester and the rest.

Starting off on a new game, I found my progress much faster when not only remembering responses from the prior game, but remembering what doesn’t work.  The "go north" was how I managed to get moving in Photopia, and it did the trick for me here as well.  Unfortunately, I’ve reached a dead end and coming out of the building, I hung a left (east) and was pleasantly surprised to find that another of my proposed computers is housed in a locale right up the street.

I’m not exactly burning rubber, but then again, I’m having a good time.

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