IF Reader Interaction Response

Throughout this semester’s study of electronic literature I have time and time again been brought to a place where I must open my mind to new and sometimes (more often than not) frustrating fashions of literature. Although I consider myself a very open-minded person to begin with, as my previous responses have shown I have found it incredibly difficult to derive any sense of pleasure or enjoyment from the e-poetry we have studied thus far. Not surprisingly the same sentiment is shared in regards to my dealings with our newest venture in digital literature: Interactive Fiction (“IF” for short). Albeit an interesting concept when first speculated upon, IF has presently come to be in my opinion a gross hybrid of the novel and video gaming which instead of being thought provoking or even slightly entertaining is in fact a waste of time and energy on the part of the interactor.

Characteristic of most IF is the idea that the interactor is the one writing the story so to speak. This view is observed by the way in which the reader of IF types in commands to progress throughout the story. This however is the very fallacy of the idea in that the story or plot of the piece has already been predetermined by the author. Even though it may seem like the reader has control over which decisions are made throughout the story, any direction has already been pre thought and manufactured by the writer, therefore making the sense of control one has a mere illusion. Furthermore, the fact that all possible commands one can input into a work are already in preexistence and cannot be manipulated to do other than that which has already been programmed. For example, if one wishes to jump and therefore types “jump” into the input bar, yet the program does not recognize the verb “jump” it is as if one has been transported to a world where jumping does not exist. This is a great hindrance to all works of IF in that not everything about them is interactive.

In this way, works of Interactive Fiction fall into a paradigm of duality; they are neither novel nor game, yet claim to house attributes associated with both the written word and cyber gaming. This in turn becomes yet another way in which pieces of IF lose their popularity and appeal. Who really wants to read a story where instead of merely turning pages and allowing the imagination to fill in the blanks, one has to actively type and quite possibly read the same set of dialogue three or four times (even more in most cases) in order to progress throughout the plot? And on the opposite side of the field, what gamer would in their right mind wish to play something where they do not have some representation of the story (other than sheer words)? Although rhetorical in nature, these questions are asked in order to provoke the natural response of: “No one would wish to partake in these activities!”

Apart from (and in addition to) this undefined nature IF, it is also extremely exasperating to understand much of the plots in IF as they do not on most occasions flow in a cohesive manner but are generated somewhat randomly. One example of this haphazard characteristic exists in the creation of the Brother’s Chaps (the duo of Mike and Matt Chapman) “Thy Dungeonman.” Listed under the games section of their website: http://www.homestarrunner.com/, this particular work of IF serves as an extension of their vast flash animation website. It also works as an excellent example of just how ridiculous works of Interactive Fiction can be. This accomplished by its satirical wit interjected throughout the programming of the story.

In the title screen of the game, there is a text-graphic (an image comprised of text) and a message reading “Click to enter Yon Dungeon.” (See below)





After clicking, the viewer is welcomed by a message indicating that obvious directions of travel are either “NORTH, SOUTH or DENNIS.” This is just one example of the tongue-in-cheek nature present throughout the work as it is absolute silliness to suggest that Dennis (who happens to be a person)is a navigable direction.







However, this is not the only use of humor within the story as is evident by the repetitive (and sometimes inappropriate) use of Old English words such as “Ye”, “Yon” and “Thee.” (See screenshots) Uses of such words do support the setting of the story (that the interactor is a medieval person trapped in a dungeon) yet also add an element of humor to the work.
Progressing throughout the work (which consists of only four “rooms” or environments of interactivity) the authors take full advantage of the fact that the actions inputted by the interactor are totally and completely under their control. When a command is given that is not recognized by the program there displays a message reading as such: “That does not computeth: type HELP is thou needs of it.” (see below) Although poorly written (the “is” should be an “if”) the message continues in the vain of sarcastic wit as it models on the common phrase found in IF of “Sorry, I didn’t recognize that verb.” In this way the Brother’s Chaps seek to jab at IF and its oftentimes enraging inability to recognize common commands such as jump, smell or grab. This subtle prod at the regularly employed mechanics of IF continues all through the work, as is seen when the interactor types the command “dance.” Instead of disallowing this action, the programmers yet again interject their love of nonsensical humor by having the output display the message: “Thou shaketh it a little, and it feeleth alright.”



Another way “Thy Dungeonman” brings to light the sheer ludicrousness of Interactive Fiction is found within the first room, where there is a flask. After trying to “get ye flask” the response informs one that it is “firmly bolted to a wall which is bolted to the dungeon which is probably bolted to a castle. Never you mind.”(see below)



Furthermore, if the reader attempts repeatedly to acquire the flask, on the third go round it comes off the wall, but also brings the rest of the building down on top of the protagonist, thereby ending the game. (see below)



This is of course a reference to the frustrating aspect of IF in which the interactor may try all options and even type the same command in multiple times in a fruitless effort to solve a puzzle. Of course, given their flair for the preposterous, the writers of the story have programmed the flask (and its acquirement) to be a booby trap, leaving the interactor all the more frustrated for attempting to achieve their goal.



And this is perhaps where the greatest defining factor of Interactive Fiction (and electronic literature as a whole) is found. Whereas the other forms which IF claims to hold in common with (that of the novel and the video game) often have a concrete plot, intriguing ideas and a moderate to great amount of entertainment potential, IF more often than not fails in these departments and in so doing generates an experience which is neither enlightening, imaginative or enjoyable. The Brother’s Chap’s “Thy Dungeonman” provides an accurate summary as to what IF is in that it seeks to poke fun at most (if not all) of the tenants of the interactive genre. Although the appeal may be held by some individuals on the basis that it is a work in progress and needs time to be perfected, I stand convinced that it will never replace the written word. IF is in many cases difficult to navigate, frustrating to figure out and hard to enjoy. Given these facts it is obvious that IF will not advance but will instead either remain as it is (with slight modifications) or fade away into the sea of trends, useful only to those individuals wishing to express themselves in an unintelligible and unentertaining manner.