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About the StoryA new, experimental game that has no puzzles but uses only words that change your focus on things, thereby adapting the story.
[--blurb from The Z-Files Catalogue]
Nominee, Best Writing; Nominee, Best Use of Medium - 1997 XYZZY Awards
-- Duncan Stevens
Not being able to exercise control over the character -- yet playing in the second person nonetheless -- is a strange and disconcerting feeling, and the haphazard ways that your input affects events reinforce the sense that you are witnessing rather than participating in the narrative. The result is subversive in its way -- it questions the assumption that you are sent to an interactive-fiction environment to do something concrete, make an effect, rather than experience what's there. In effect, it makes the scene itself, and what happens there, more important than you, the player (though you as the player are distinct from "you", the character), since your importance is mostly to enter commands that allow you to see more. In that the setting is almost entirely fixed in one location, Space... also forces the player to appreciate the minute details that Plotkin brings out.
-- Duncan Stevens a.k.a. Second April
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Number of Reviews: 5
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Most Helpful Member Reviews
I only wish it were more fully implemented, allowing more keywords to cause revisions to the narrative.
Is it interactive? Well, yes, it is, but unlike traditional IF in that you do not control the character with actions. The flow of the narrative is triggered by single word input, a word that is already in the narrative on the screen.
Is it fiction? Traditionally fiction is plot oriented, although I am sure there are enough English majors who would argue that there are character driven works. Still, what is lacking in "The Space Under the Window," is a sense of motivation for the central character. What *is* the goal? This is an experimental piece of fiction.
This work is unsettling and surreal. The sense of time seems to fluctuate as certain commands seem to trigger going back in time to previous moments. That is what this piece is, a collection of moments strung together where the player is left to wonder what it was he (used in this context, "he" is meant to be a generic genderless pronoun, which English is sorely lacking) just experienced.
This is a game that is difficult to love, but easy to appreciate for the skill with which it was crafted.
Short keyword-driven IF where you change a room description, February 3, 2016
I found this game to be pretty short; altogether I think there were less than 40 keywords I could type. Many obvious words were not implemented, but this makes sense for an experimental game.
This kind of concept, whether inspired by this game or not, was further developed by Aisle and then Galatea, both games where the gameplay focuses on typing keywords in a room or a conversation, and text adapts around the words you type. I distinguish this from games like Blue Lacuna, where typing keywords just has you interact with the object.
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Hypertext stories that make heavy use of text transformations by Bruno Dias
I'm looking for hypertexts that make heavy use of stretchtext and related effects to tell their story - Links that add, remove, or alter text within a passage. Swan Hill for instance makes heavy use of this, and my own work does too, but...
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I'm interested in games that take the fiction of IF to new levels. These are not straightforward, plot driven games. Think instead of games that play like poetry, or games that focus on a character's revelation.
This is version 6 of this page, edited by Emily Boegheim on 17 March 2016 at 6:04am. - View Update History - Edit This Page - Add a News Item