Different folks got different problems
Andrew Stern, who moderated the panel "Why Isn’t the Game Industry Making Interactive Stories?" at the GDC in March, posted about his experience today. I read the Powerpoint presentation he made for the event. For quite some time now, Andrew has voiced concern about what he percieves to be a central problem for
Many people seem to share his view. I don't. I just can't see it.
I'm sure that it has to do with my choice of medium: bots. A chatbot interface always lets the client type whatever s/he wants. It takes any string (even the "null"-string - when the client just hits [Enter] as a "conversational act"). Any attempt at storytelling has to reflect this condition.
The designer of such a system has to assume infinite ressources on the client side. Infinite storage capacity for an infinite amount of available input sentences. Infinite processing time between input acts. Always-on, one-hundred-percent freedom. So until I was told so, it never occured to me that interactivity and storytelling could be in conflict at all. To me, things simply look like this:
My real-life model for Interactive Storytelling is improvisational acting rooted in the Method and Biomechanics, and that particular problem simply doesn't figure in my domain.
I have very different problems.
Creator
s in Interactive Storytelling: the "conundrum of interactive stories: if you are given the freedom to do what you want, how can a well-formed story be created?"Many people seem to share his view. I don't. I just can't see it.
I'm sure that it has to do with my choice of medium: bots. A chatbot interface always lets the client type whatever s/he wants. It takes any string (even the "null"-string - when the client just hits [Enter] as a "conversational act"). Any attempt at storytelling has to reflect this condition.
The designer of such a system has to assume infinite ressources on the client side. Infinite storage capacity for an infinite amount of available input sentences. Infinite processing time between input acts. Always-on, one-hundred-percent freedom. So until I was told so, it never occured to me that interactivity and storytelling could be in conflict at all. To me, things simply look like this:
Interaction = Conflict = Story
My real-life model for Interactive Storytelling is improvisational acting rooted in the Method and Biomechanics, and that particular problem simply doesn't figure in my domain.
I have very different problems.
scheuring - 9. May, 10:35
Re: Different folks got different problems
Actually my central concern isn't really the conundrum I wrote about in that post from October 2003. For the kinds of interactive drama we're interesting in making, Michael and I have resolved that question to a reasonable degree of satisfaction. We describe our particular solution in our upcoming AIIDE paper; it's probably similar to your thinking on the issue.
Rather, my primary concern with all of this is about inventing implementation methods towards achieving high-agency interactive drama. How to architect a system capable of it, how to represent narrative knowledge, how to understand natural language to allow for maximum expression for players, ways to be as generative as possible, ways to more easily author it all.
Those were the motivations for the questions I posed on the panel -- but didn't get substantial answers for from the industry panelists.
Are these not are the same problems you perceive? If not, what do you consider to be the obstacles, in terms of design, technology and production?
While I agree with Conflict = Story, I don't think Interaction = Conflict is always true. That is, I don't think players will always generative interesting conflict; without some help from dramatists (e.g. a drama manager), naive players may only generate banal, uninteresting conflicts, such as griefing or attempts to break the AI.