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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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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.
Unusual as it may seem, The Space under the Widow exploits the liquid architecture of the digital computer like Adventure does. While Adventure features cave-crawling and a navigational system composed of both common nouns and cardinal direction, The Space under the Window enlarges the spatial sensory of the common noun while abandoning the cardinal direction. In that way, The Space under the Window turns the physicality of Adventure into the metaphysics of the window. If the player of Adventure travels from room to room with a sense of the natural landscape retained, the player of The Place under the Window traverse from space to space with the sense of the informational structure amplified. As such, information, meaning, and action are brought together.
Consequentially, words become empty vases, glittering glasses, and objects to be manipulated. In that regard, it can be said that The Space under the Window is at the same time traditional in its invocation of Adventure and innovative in its deprivation of the significance of cave-crawling.
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