The Tempest

>INVENTORY - Paul O'Brian writes about interactive fiction

The Tempest attempts a great deal, and achieves much of it despite being somewhat flawed. The work presents itself not as a game, but as an "interactive performance" which asks the player to perform as the magical will of Shakespeare's Prospero, guiding the spirit Ariel (a.k.a. the parser) through the plot of The Tempest (the play), though not necessarily in the order in which Shakespeare wrote it. Remarkably, this complicated positioning of subjectivity works quite well (and opens some unexplored territory for the mixing of first, second, and third person forms of address in IF). It is blended with a new approach to dialogue which prevents the player character from speaking at all but presents many screenfuls of dialogue between other characters (and sometimes including Ariel himself), the exchanges broken up by pausing for keystrokes between each character's lines. In a sense, the player's commands to the parser become essentially stage directions issued to an onstage persona via a magical conduit. This idiom also works beautifully, bestowing the game with a powerful aura of theatrical performance. The Tempest is entertaining and innovative; it often feels quite magical to inhabit the Prospero/Ariel connection, and to take part in a groundbreaking interactive experience. I think that the game also has great potential as an educational tool, allowing readers to experience Shakespeare's language in a new and thrilling way.