Last week, I read an incredible short story that seemed to have many elements of interactive fiction. I have also recently read Nick Montfort’s Twisty Little Passages as a source for a research paper on digital storytelling that I wrote for a mass media course. Montfort’s argument for riddles as a literary ancestor of IF got me thinking about levels of interactivity in traditional linear or “static” literary works, and I think that short story displays interactive forms of immersion and problem-solving.
First, the story. It’s called “Shell”, written by G.L. Francis, published in a freely-available online periodical called The Cross and the Cosmos. It can be downloaded from crossandcosmos.com/ (click on the thumbnail of the cover image of Issue 7). “Shell” is the last of three stories found in the PDF document, starting on page 12. The actual plot of this story is simple and would be boring if it were the whole point. It’s written in present tense, alternating between second and first person. It calls attention to different levels of narration by always italicizing the sections in second person, separating them from those in first person.
The Cross and the Cosmos owns the publication rights to the short story, but I thought the form was so notable from the perspective of IF that I received permission from its author and the publishers to post the first few paragraphs here:
The immediate similarity with IF is that imperative sentences (which look a great deal like IF commands in the last of the quoted paragraphs) seem to control, or at least indicate, the actions of the reader-protagonist. Notice how the first paragraph is a “command” to walk on the beach, and then the second paragraph is a description of that beach, almost like walking from one room to another in IF, resulting in a room description.
In IF, the human player issues the commands, but who is doing the commanding in this static short story? There has to be some implied first-person presence, both telling the reader-protagonist what to do and reporting on what has happened. IF has an implied first-person voice too, which in the older games was more than implied (“I don’t know the word ‘…’”). The omniscient IF narrator does not have direct control of the protagonist, while here the implied narrator is doing all the commanding, in the absence of a parser. So, these first four paragraphs contain at least three IF-like elements – the immediacy and immersion of second person, present-tense prose; imperative commands guiding the actions of the reader-protagonist; and an implied omniscient first-person narrator.
“Shell” goes on to tell the stories of these voices trapped in the shell that the protagonist picked up. While the protagonist is listening to the voices in the shell, the prose switches to first-person (still present tense), and the text becomes non-italic, indicating a jump to a different level of narrative. The second-person “frame story” reappears four more times to describe the top-level story of the protagonist, including the last paragraphs of the story.
The first-person voices of the Sea present another IF-like characteristic – puzzles, or at least problem-solving. Many of them are intentionally obscure references to Greek mythology, the Bible, and historical events. I didn’t know anything at all about some of them and had only a vague understanding of the situations surrounding many, I was able to decipher many others by careful reading. A large part of the pleasure of the story comes from the challenge of figuring out who the narrators of the individual voices are. Thus, at least many of these short segments of the story could be called riddles, and as riddles, puzzles.
I was pretty excited to see the similarities that this amazing short story seems to share with IF. Does anyone else see anything in this? It looks like static fiction can actually be a lot more interactive than it would appear at a glance. We can probably learn more about IF through studying interactive techniques in static fiction.