In five short-format talks, leading innovators in game narrative will share stories behind their innovative creations: the ambitions they had, the challenges they faced, the solutions they invented. Each speaker will reveal in detail the experimental techniques they developed to mark new advances in narrative design, dissecting particular problems and revealing the strategies they deployed to tackle them.
Speakers are: Clara Fernandez Vara, Matthew Weise, Tanya X. Short, Mark Backler, Whitney “Strix” Beltran, Dave Gilbert, Allen Turner
The English documentation isn’t available yet (the original is in Russian). The AXMA editor runs both online and in a downloadable standalone version for Windows, OsX, and Linux.
A pro-account allows export of HTML and modification of the exported website code.
Nels Anderson is a game designer with Campo Santo. Nels talks about some of the hurdles they had to over come in creating Firewatch. Firewatch is the story follows a Shoshone National Forest Fire look out named Henry in 1989, following the Yellowstone fires of 1988. A month after his first day at work, strange things begin happening to both him and his supervisor Delilah, which connects to a conspired mystery that happened years ago
At its most basic, Ink can be used to write a branching dialogue tree or a non-linear Choose Your Own Adventure story with multiple endings, but its real strength is allowing non-technical writers to create dynamic narratives using only minimal markup syntax. The text remains readable allowing an author to follow the story flow by eye, and edit at any point to add new branching options and alternate text, update variables, and reconnect to the main story.
There’s no programming loop. Instead an ink runtime follows a single path through the text, typically following a goto link, jumping directly to sections called knots and their order-prioritized sub-sections called stitches – with a name like ink it would be reasonable to expect the metaphors would be about pens and writing but an inkle loom is a device for weaving straps out of one continuous thread wound around pegs (an elegant metaphor that isn’t terribly helpful in understanding ink’s syntax).
Ink runtime keeps track of which sections of the story have already been visited, automatically removing the options that have already been picked. Multiple choice dialog branches can be nested in place, creating conversational diversions before seamlessly weaving back into the main thread. Authors can write in natural prose, following conventions of visual novels or interactive fiction, and not worry about specialized code or relying on programmers to generate the options.
Aug 25, 2013 –– Together with a few collegues, Michael created the interactive story “Façade“, an interactive drama about the relations between three persons in a small flat. Michael holds the MacArthur Chair at University of California, Santa Cruz and runs their Expressive Intelligence Studio where they explore the intersection of artificial intelligence, art and design. “Our goal is to create compelling new forms of interactive art and entertainment that provide more deeply autonomous, generative and dynamic responses to interaction”, says Michael. His talk is titled “How New Playable Models from Recent Work on AI Can Enable New Types of Serious Games, i.a. Games about Human Rights”. The lecture is given as part of the course “Human Rights in Serious Games”.