Whizzard's Guide to Text Adventure Authorship v1.1 - Part 3 by Kevin Wilson Originally published on CompuServe/Internet Supplied by both Graham Cluley and Richard Hunt @~Continued from Issue 38 5 ---- Writing IF as compared to writing a book. ---- There's one primary difference, interaction. The player MUST be able to control his own destiny within the context of your story. You really should also put in at least one or two 'happy' endings. Without a worthwhile endpoint, the player is going to feel reluctant to play any more of your games, for fear of another poor ending. One nice touch is to have the game post up some suggestions for things the player can go back and try differently. So in my water/wing example, it might suggest that they go back and pull the lever in the other direction. Personally, I am going to try to make my games so that you can never see the entire thing in one run-through. This will undoubtedly upset many people, but I feel that it will eventually become a nice quirk, giving my games a reputation for being worth the money paid for them. Ack, I've done it again. Way off topic. Ok, back on track. I believe that almost any literary technique is valid in IF. Anything you can use in a creative writing class would therefore be appropriate in your game. This includes things like foreshadowing, characterization, repetition (as in something that shows up in several settings as a philosophic theme to your game. For example, litter might appear in many locations in a game about environmental decay.) personification, subtle metaphors, etc. Good writing is good writing. There might be a few techniques that I would use, but I can't thing of any at the moment. And that's about the sum of it. 6 ---- The Elements of Plot ---- This is a reprint of an article I posted to r.a.i-f: Anyways, I found a good description of the elements of plot in, of all places, Vampire RPG. Here are the parts of plot that they mention: Setting the Scene - The Hook - The Buildup - Cliffhangers - Plot Twists - Climax - Resolution I'll look at each of them in turn as they relate to IF. Setting the Scene - Give the player a few moments to get used to his character before you start throwing things at him. Allow him to 'look at myself' if you want, I find it makes a nice touch to give a physical description there. (If you have a pre-arranged character that is.) Here's a good point, if you have a long intro, allow the player the option to restore a saved game before you make him sit through it. I try to put the intro a bit into the game, with a relaxed setting for the first scene. The Hook - Whap! Something happens. His best friend comes running in to ask him to hide him from the police, his spaceship blows up, a murder occurs, etc. Hollywood Hijinx did a really crappy job of this. The hook is important to the game, vitally so. Make it dramatic, sudden, and give it the promise of exciting adventure. Tantalize them, draw them into the game. Trinity does a great job of this. [I have had several people send me e-mail verifying this particular statement. One of them was quite certain that his game had died for lack of a good hook.] Buildup - Give the player some challenges to overcome that in some way relate to the plot. Don't let the player get bogged down in one spot, multiple solutions are great for avoiding this. Get the suspense building up as soon as possible. Give the player a sense of accomplishment as he nears his goal, but keep drawing him into the game. Don't let up at all. As Vampire RPG says, "Do not falter." Cliffhanger - A cliffhanger is pretty much a teaser. Something that makes the player suck in his breath, and then let it out on the next turn. A decent, but not great, example is Trent's multiple deaths in LGOP. How about a lever that, when pulled, does something, but only after a turn has passed. Just as the player is about to scream in frustration, the world is okay again, and life is wonderful. Plot Twist - By all means throw in plot twists. They keep life interesting. Maybe the bad guy is just a puppet controlled by an even greater threat. A friend could betray the player. Or maybe the player really DID commit the murder! Switch gears so fast you strip them. The player will sit there with his mouth open for a moment, then he'll be hooked on your game forever. Climax - Ok, enough dilly-dallying, cries the player. I've furled the magic fumongerabob, and bummoxed the mighty spiffywhacker, where's the Big Nasty (tm)? Give it to them. Both barrels. Make their blood run cold as time ticks away until the end of the world unless they stop it. If the player isn't breathing hard, you're not doing your job. Then, if you like, just as the Big Nasty (tm) kicks up the white flag, he pulls a fast one, and the player has to take him down again. This is your moment to ham it up, don't waste it! Resolution - The One Ring is molten slag, the damsel is rescued, the government is overturned. Let the player enjoy it with a spectacular ending. (The Rube Goldberg ending in LGOP is classic) This is the last impression your game will leave on the player, make it just as jarring as the Hook so he'll come back for the next one. I've played too many games with a crappy ending in reward for solving fiendish puzzles. It's an unbelievable downer when you finish one of them. Ruins the whole game, but on the other hand, keep it fairly short. Unwind the player, let them relax with a job well done. And, if you want, as a final teaser, throw in some foreshadowing... (A shot of an unnoticed Alien egg.) ----- As you can see, most of my opinions on the elements of plot are unchanged. Moving right along... 7 ---- The Story, or 'Where do I find an idea for a game?'---- Writers often get asked this question. I don't, but what the hell, it's my textfile. I think the trick to coming up with ideas is to have a broad reading base. The more stories you've seen and read, the more likely you are to understand what makes a story 'good'. So read everything you can get your hands on. Then, late at night, or early in the morning, an idea will hit you. It takes time and a certain mood. Once you get the idea, write it down quick, or you'll lose it forever. Actually, that's just the way I do it. You probably will have some other way to come up with ideas. I suggest that you play your favorite music and read a good book, while keeping a notebook handy. That works for a lot of people. 8 ---- The Zen of IF ---- Ok, you've suffered through a fair amount of information on writing IF, so I thought I'd take some time out and plug a little humor into this now monstrous manual to Zork, the Universe, and Everything. The Interactive Fiction Classifieds: WANTED: A good plot. We seem to have lost ours. Inquire at Activision. LOST: One umbrella. Embellished with the slogan, 'All prams lead to Kensington Gardens.' Great sentimental value. Reward. Lost up in a tree. FOUND: One battered old text parser. It seems to somehow portray the lost innocence and fun in video games. Appears to have been carelessly tossed aside in the rush to appease mouse-hungry users. Text from a bottle found washed ashore near the new Infocom's HQ: "Help! We are being held hostage in a soulless land filled with gaudy graphics, purposeless quests, and (horrors!) a graphical user interface! Won't that nice gentleman with the brass lantern come to save us, please?" - The Inhabitants of Zork. The Bumper Sticker Section Here's a collection of bumper stickers for text adventure fans. "Text adventures do it with words." "Your dungeon or mine?" "I brake for text parsers." "Imagination sold and serviced here." "Danger: A Mind Forever Voyaging at the wheel." "I keep my mouse where it belongs, in the closet." Well, I did say 'a little' humor. Very little. Feel free to send me some jokes and such to flesh out this section. 9 ---- The Thirty-Six Basic Plots ---- Some years ago, a man named Polti noticed that a few basic plots were fairly commonly used. Later, a person named Loren J. Miller adapted this premise to role-playing games like Dungeons & Dragons. After reading her work, I brought this article to the Internet. -- The Thirty Six Basic Plots in Text Adventures First of all, _The 36 Basic Situations_ by Georges Polti is the work that this is based on. I would also like to thank Loren J. Miller who published an article in a local gaming magazine. Her article inspired this interpretation of Polti's work. So, without further ado, here are the 36 Basic Plots....Replete with ideas for using them. Oh, and if you disagree about these plots, you'll just have to talk to Polti. :-) 1. Supplication: A persecutor and a supplicant take a grievance before a power in authority. This can be any sort of court case or any variation on that theme. Personally, this strikes me as a better subplot than a full plot, at least in a text adventure. I mean, sure, Perry Mason is great for TV, but I wouldn't want to play it. 2. Deliverance: An unfortunate or group of unfortunates is delivered from a threatener by a Rescuer. This is one of the classic folklore plots. Perfect for text adventures in my opinion, if you use a little creativity. Let's look at the various characters. The unfortunates can be the player, the player's spouse, a friend, a distraught village, or even the population of an entire world, or universe. The threatener can be animate or inanimate. A force of nature is sometimes more threatening than a sinister villain. A whole series of Jaws movies will back me up on this one. You could have a dragon, an army, a robot, an earthquake, a volcano, a hurricane, or a breakdown in the laws of nature. The rescuer is most likely to be the player, otherwise they might feel a little left out of the game. But then, you might think of a nice plot twist and give that role to another character. 3. Revenge: An avenger and a criminal duke it out. I really won't dwell on this plot because there are a thousand different ways to use it, and a thousand motives for revenge. Look at any of a zillion cornball action movies for ideas, or better yet, don't. I can't stand those movies. 4. Vengeance by family upon family: I'm not sure exactly why Mr. Polti feels that this plot is so different from #3, but I suppose he had his reasons, like maybe a grudge against his uncle or something. 5. Pursuit: Fugitive from punishment is pursued by a pursuer. This plot has promise. _The Fugitive_ immediately springs to mind. Also I could see a game of human hunting, in the tradition of all those stories. _The Running Man_ has a similar plot (the book, not the movie.). A nice gimmick for a game would be to allow the player to try it from both viewpoints. 6. Victim of Cruelty or Misfortune: This involves unfortunates and a Master or Unlucky person. I assume that it refers to a slave master here, but I wouldn't write about slavery. It disgusts me. But then, an unlucky person meeting with misfortune isn't too bad an idea. _Bureaucracy_ was based around that theme. Maybe the main character is cursed by bad luck wherever they go. Or maybe it's just an isolated incident of spectacularly bad fortune. Whatever the case, the point is that there's no real villain in this plot, just victims. 7. Disaster: This one says vanquished power, and a victorious power or messenger. It seems to me that I'm not looking at this the same way. I didn't think there were any victors in a disaster, although I guess that Polti is referring to the disaster itself, or some sort of metaphorical Nature. Famine, storms, floods, planets being demolished to make way for galactic bypasses...good stuff. Make the player a firefighter, or a rescue pilot, or even a super hero. Then, give them some people to save, or a way to avert the whole disaster. 8. Revolt: For this, you need a Tyrant, and some conspirators. Stir in some peasants, evil guards, and shake well. Or maybe the middle class has finally had enough of our bureaucratic government, and the player is a cop protecting the system that he doesn't even believe in anymore. And who says that a text adventure has to be set around a human? Maybe the player is an alien, trying to overthrow our government? All sorts of different angles. 9. Daring Enterprise: This involves a Bold Leader (tm), a Goal, and an Adversary. I would say that this plot has a lot of potential for text adventures. Pick your setting at will. The goal? Nearly anything. I could see the player as the captain of a colonizing ship bound for Mars with a traitor on board, and a meteor storm ahead. This one has the added bonus of having a built-in sequel. :) 10. Abduction: An abductee, abductor, and someone who is responsible for the abductee (maybe the abductee themself). This plot would suggest a rescue or an escape. Personally though, I would find a game from the viewpoint of a kidnapper in poor taste. So, I would set it from the abductee or guardian's viewpoint. Watch yourselves if you use this plot. There's a lot of censorship floating around these days. (Thanks Tipper. :P ) 11. Enigma: You need an interrogator, a seeker, and a problem. Two words, _The Prisoner_. This was the greatest example I've ever seen of this plot, even though I only saw one or two episodes. (I hope to rectify this someday and see the whole thing.) _Amnesia_ was the text adventure version of this plot. However. Everything I've heard suggests that this plot is bad form for a game. Look at _Hacker_. No instructions, and just that stupid login prompt. This plot starts too slowly. Maybe you can develop into this plot, but don't start with it. 12. Obtaining: There are two or more opposing parties, a sought-after object, and an optional arbitrator. Gee. Here's an original plot. Go fetch the ring, Bilbo. Bring back the Holy Salmon, Mortimer. We need the _______ of Unearthly Might, Fred, can you get it for us? Tried and true on one hand, overused on the other. 13. Familial Hatred: Here you need two family members that (well duh) hate each other. That's what familial hatred means, after all. Anyways, here's another subplot for ya. The trick with this one is that you have to overlay it onto some exciting story or another. Just plain old hatred doesn't cut it as a storyline. 14. Familial Rivalry: Preferred kinsman, rejected kinsman, object of their desire. Shades of _Hollywood Hijinx_ here folks. I'm sure that you guys can do better with this one. (Although, I did like the atomic Chihuahua. That was fun, stomping and smashing things.) 15. Murderous Adultery: Exactly why this is in a separate category from adultery I may never know. I don't always agree with Polti, but he did have several great ideas. Anyways, you have two adulterers, and the betrayed party or parties. This is a classic for murder mysteries all over the world. 16. Madness: Madman, and a victim. Well then, I don't see why the madman can't be his own victim, struggling against the slow fall into insanity. Maybe he's the victim of some exotic poison, working away at his mind. I still like the split personality murder plot, myself. Or any other sort of debilitating madness that the player must overcome. Or how's about this? The player is catatonic, aware only of some fantasy world inside his own mind that is slowly becoming hostile to him. Either he has to escape to the real world, or find a way to truly enter his world before his family pulls the plug on him. I like madness, it's a good plot. 17. Fatal Imprudence: Sort of like fatal stupidity. The ambassador to the USSR accidentally leaves a compromising document in a briefcase that is stolen, or a guard watching the crown jewels falls asleep and well, you get the idea. For this one, you need an Imprudent person and a victim or lost object. 18. Involuntary Crimes of Love: I suppose this could be classified as Not-quite-Murderous Adultery. Or maybe the lovers are forced to kill someone who stumbles in on their little affair. Use your imagination. 19. Kinsman kills unrecognized kinsman: Whoa, Oedipus Rex. Killer, unrecognized victim, and a revealer. Another mystery plot or a nice subplot that adds a poignant touch to any game. 20. Self Sacrifice for an Ideal: Hero, Ideal, thing or person sacrificed. Just think of the Civil War, thousands of people gave their lives to free the slaves in the south, even though they weren't really affected by the slavery. Or the American Revolution's quest for freedom. There have been innumerable causes throughout history, and many many more that you could use as the motivation for a heroic sacrifice. 21. Self sacrifice for Kindred: Hero, Kinsman, person or thing sacrificed. Not necessarily a blood relation, just someone the sacrificer really cares for and relates to. It need not be the player that does the sacrificing, it could be an NPC sacrificing themselves for the player's benefit, or for the benefit of another NPC. 22. All Sacrifice for Passion: Lover, object of passion, person or object sacrificed. Reminds me of _Romeo and Juliet_. This is an excellent plot, but it needs to be garnished with other subplots as well to make a really good game. Really, all plots need that sort of enhancement. 23. Sacrifice of Loved Ones: Hero, beloved victim, and a need for sacrifice. I'm not really sure what would possess someone to give up someone they love, but I'm sure you guys will come up with something clever. Oh, wait, maybe something about a mercy killing, or maybe the loved one is needed in a greater cause or something. 24. Rivalry between superior and inferior: Superior, inferior, object of rivalry. Maybe a boss and an employee are both out for the same girl, or an aristocrat and a commoner both seek the same public office, etc. It's not too difficult to think of other stories for this plot. 25. Adultery: deceived spouse, two adulterers. Ah, goody, yet ANOTHER adulterous plot. This guy really has a one track mind. I'll bet he's got incest in here somewhere, by George. 26. Crimes of Love: Lover, beloved, theme of dissolution. Hmm, this sounds like The Hand that Rocks the Cradle or some such movie like that. Lover finds out beloved doesn't love him anymore, so he bumps her off. I hope there's at least one good plot in this last batch of 12, or I'm going to look pretty silly. 27. Discovery of dishonor of a loved one: Ponder. Could've sworn he used this one already. Anyways, just think of _The Scarlet Letter_ here. This might make an interesting story, but if anyone takes a Victorian romance novel and makes it into IF, I'm gonna come a' gunnin' for ya. 28. Obstacles to love: Two Lovers, Obstacle. What sort of obstacle? The tire run? :) Anyhow, this is an element of _Romeo and Juliet_ as well. My plot outline for _The Last Day_ uses this as character motivation. Really, I can't think of anything better to get a player moving than a love interest/promise of nookie in the future. 29. An enemy loved: Beloved enemy, Lover, Hater. More Romeo, but there's a good sci-fi movie that has some of this, called _Enemy Mine_. Well, _I_ liked it, anyway. Not necessarily love, maybe strong friendship or camaraderie instead. An inter-racial friendship in the deep South 10-20 years ago. Or, in some places, even today. The hater is going to take his bigotry out on the enemy and lover though, I guar-on-tee it. 30. Ambition: Ambitious person, coveted thing, adversary. Man, he was hard up for ideas toward the end. Ambition is nearly always a facet of some other aspect of a person's makeup. There are a few people who simply lust for power, of course. They are called politicians. If you want to write the _Dave_ of home computing, don't let me stop you. Other ambitions center around money, love/sex, desire to avoid manual labor, etc. Maybe you could write a game about a would-be video game designer who's having trouble breaking into the business. ;) 31. Conflict with a God: Mortal, Immortal. Hmm, lots of possibilities here. You could send the Angel of Death after the player in a variety of settings, like New York, or WWI or II. Or maybe you've been hankering to write the IF version of Job? Don't forget the Greek gods, Roman Babylonian, Pagan, and a zillion others. This one is fun because the player is faced at an initial disadvantage and has to work from there. 32. Mistaken Jealousy: Jealous one, object of jealousy, supposed accomplice, author of mistake. Oh boy! _Three's Company_! Seriously, this is an absolutely lame story premise. I suggest you take up writing sitcoms instead of IF. 33. Faulty Judgement: Mistaken one, victim of mistake, author of mistake, guilty party. Hmm...the player is sentenced to death for a murder he didn't commit. This sounds like a good start to a prison escape game, where you have to prove you didn't do it, or, alternatively, flee the country. 34. Remorse: Culprit, victim, interrogator. _Interview with a Vampire_? The culprit would be confessing a past crime to someone, discussing a victim, or so I would suppose. Of course, I'm not positive on this one. My source gives only a tiny bit of information on it. 35. Recovery of a lost one: Seeker, one found. _The Vanishing_ would be a good example to look at. This figures into most action movies as a sub-plot as well. Unfortunately, it also figures into way too many video games as well. Super Mario Bros., King Kong, Final Fight, the list goes on. 36. Loss of loved ones: Kinsman slain, friendly witness, executioner. The player learns of an uncle, sister, parent, etc. who has been claimed by some exotic death, or killed simply by some street thug. He decides to go see what happened/get revenge on their killer. Having reached the end of the 36 plots, I guess I'll finish off by listing those plots which, in my mind, have the most merit for IF currently. Here goes, in no particular order: Deliverance, Pursuit, Disaster, daring enterprise, madness, self sacrifice for love/an ideal, an enemy loved, conflict with a god, and loss of loved ones. That's 9 out of 36 that I think have promise. You may disagree with my choices of course, these are just my particulars, based on this article. I hope you enjoyed this post, and I'll be sure to add it into _Whizzard's Guide to IF Authorship_. :) @~More next issue - o -