Computational approaches to narrative (Schedule)
Readings available in accessible format are included as hyperlinks below. Alternate methods of obtaining the readings will be discussed in class. Some required games and other playable media must be purchased; these are noted with a “$” symbol. (Total cost of materials for the class is not expected to exceed US$30.) It’s always better to play these games with friends and fellow classmates!
Sessions are loosely grouped into the following “units”:
- Unit 1: Hypertext and formal theories of narrative (Sessions 01 through 04)
- Unit 2: Worlds and world models (Sessions 05 through 08)
- Unit 3: Narrative generation (Sessions 09 through 12)
Session 01: Formal theories of narrative
- Introduction and syllabus
- Exercise: Identifying narrative structure. Google form for this exercise. Spreadsheet with results.
- Narrative structure overview
Play and reading assigned
To be discussed in session 02. Consider while playing “Her Story” the relationship between story (the underlying events of the plot) and discourse (how the story is told). How are they interrelated? Can they be separated? How is this form of discourse appropriate (or inappropriate) to the story? Jesper Juul’s “Game of objects” helps identify and call into question what properties bestow objecthood in visual/interactive contexts, concluding that “game worlds are fundamentally not designed as bottom-up simulations of a world, but are deliberately implemented in human categories, and that we understand them as such.” Do you agree with this? What are the ramifications of this for narrative theory and narrative design? The Koenitz et al. paper provides a catalogue of narrative structures from “outside the dominant canon of western print literature and cinematic works” in order to demonstrate the inadequacy of “the supposed universal model of the Monomyth/dramatic arc.”
- Her Story by Sam Barlowe ($)
- Game of objects by Jesper Juul. After you play, read the accompanying essay.
- Koenitz, Hartmut, et al. “The Myth of ‘Universal’ Narrative Models.” International Conference on Interactive Digital Storytelling, Springer, 2018, pp. 107–120.
Optional supplementary reading and play:
- Abbott, H. Porter. “Defining Narrative.” The Cambridge Introduction to Narrative, 2nd edition, Cambridge University Press, 2008, pp. 13–27. This reading is intended to give a more formal overview of some of the topics we discussed during the lecture in class. I encourage you to explore one or more of Abbott’s “selected secondary resources” and “additional primary texts.”
- 18 Cadence by Aaron Reed. A dramatic and brilliant example of a multithreaded story manifested in free-form interactive discourse. Read Emily Short’s review to orient yourself.
- For a more formal and academic overview of theories of narrative structure: Toolan, Michael J. “Basic Story Structure.” Narrative: A Critical Linguistic Introduction, 2nd ed, Routledge, 2001, pp. 15–37. (You may want to read Eveline by James Joyce in order to follow some of the examples in the chapter.)
- Most readings in this class reference literary narratology. But the field of sociolinguistics is also rich in narratological research. In sociolinguistics, the focus is primarily on non-literary oral narrative. A classic reading in this field: Labov, William. “Narrative Analysis.” Language of Life and Death : The Transformation of Experience in Oral Narrative, Cambridge University Press, 2013, pp. 14–43. See also Champion’s detailed sociolinguistic analysis of oral storytelling among African American children, which argues that teachers’ unequal consideration of cultural narrative structures leads to poor educational outcomes: Champion, Tempii Bridgene. Understanding Storytelling among African American Children: A Journey from Africa to America. Lawrence Erlbaum Associates, 2003.
- On Kishōtenketsu: “The Significance of Plot without Conflict.” Still Eating Oranges, Accessed 1 Sept. 2019.
Sketch #1 assigned
Due at the beginning of session 02. Create a system for generating stories. The system should be based on some kind of formalism or abstraction about narrative—maybe one that you read about in the reading, or maybe one that you’ve devised yourself. Be weird and opinionated. Your system should provide a set of instructions to follow (or an interface to interact with), and at the end produce some kind of story. The system should be expressive, i.e., following the instructions multiple times should produce noticeably different stories. This doesn’t have to be a computer program! Feel free to use non-digital tools (like dice and decks of index cards) or low-computation digital tools (spreadsheets, Google Docs, etc.).
Resources to consult:
- Computer-readable Plotto
- Propp’s narrative functions
- Another field that has devoted some measure of study to narrative structure is Folkloristics. For this sketch, you may be interested in consulting the Aarne–Thompson–Uther Index, a catalogue of folktale types. This blog post on the structure and uses of the ATU index is helpful. The Thompson Folktale Motif index is also an interesting source (sorta like TV Tropes but for folktales). Before using this materials, Consider this critique of the narrow number of cultural traditions represented therein.
- Tracery is a powerful and easy-to-use tool for generative text, which we’ll look at in more detail later in the semester. You might want to try using it for this assignment, though. Consult Kate Compton’s Tracery tutorial or my basic Tracery tutorial and my tutorial on Propp-inspired Tracery story generation.
- Consider looking to board games and tabletop RPGs for inspiration. Once Upon a Time is a well-known example; BoardGameGeek has a list of storytelling card games. Read or pick through the following paper for tabletop RPGs that implement interesting story generation systems: Guzdial, Matthew, et al. “Tabletop Roleplaying Games as Procedural Content Generators.” ArXiv:2007.06108 [Cs], July 2020.
Session 02: Hypertext
- Sketch presentations and feedback
- Reading/play discussion
- Hypertext, the codex, ergodic literature, networks
- Twine tutorial part 1
To be discussed in session 03.
Read the following. The purpose of these readings is to give you a vocabulary for talking about interactive forms of narrative, and to give you a set of tools for connecting your narrative ideas to tools and techniques for implementing those ideas. “The Whys and Wherefores of Game Analysis” is a good overview of how to approach and talk about games critically. I think the basic structure can also be used to think critically about interactive experiences in general. Fernández-Vara’s “Types of Narrative Choices” describes how different kinds of narrative choice are presented to players, and demonstrates the effects that these choices have; Ashwell’s “Standard Patterns in Choice-Based” games instead focuses on the underlying hypertext structures that might result from implementing these kinds of decisions. Mason and Bernstein’s paper catalogues styles of links and discusses their effects in an experimental fashion by applying different link styles to the same passage.
- Fernández-Vara, Clara. “The Whys and Wherefores of Game Analysis.” Introduction to Game Analysis, 2019, pp. 1–24.
- Types of narrative choices by Clara Fernández-Vara.
- Mason, Stacey, and Mark Bernstein. “On Links: Exercises in Style.” Proceedings of the 30th ACM Conference on Hypertext and Social Media - HT ’19, ACM Press, 2019, pp. 103–10.
- Ashwell, Sam Kabo. “Standard Patterns in Choice-Based Games.” These Heterogenous Tasks, 27 Jan. 2015.
Session 03: Twine
- Reading discussion
- Twine tutorial part 2
Reading and play assigned.
To be discussed in session 04.
Read/play the following. Characterize how the these works make use of the affordances of hypertext and branching narrative. How are they different, how are they similar? What kinds of decisions do these works ask of the person interacting with them? How are the hypertext structures appropriate or not appropriate to the content (to the extent that form and content can be separated)?
- Play 80 Days by inkle ($) and read “Fantasy, History and Respect” by Meg Jayanth (lead writer on 80 Days)
- My Body by Shelley Jackson
- Depression Quest by Zoe Quinn, Patrick Lindsey, and Isaac Shankler (name your price)
- A Dictionary of the Revolution by Amira Hanafi
Session 04: Twine, continued
- Reading/play discussion
- Twine tutorial part 3. (Notes TK.)
Sketch #2 assigned
Due at the beginning of session 05. Use Twine to make something. A few ideas:
- Tell a personal story or anecdote.
- Adapt an existing game (video game, board game, card game, sport?) to Twine.
- Adapt a traditionally “linear” story (like a fairy tale or classic novel) to Twine.
- Pick a hypertext topology (e.g. from the Sam Kabo Ashwell reading) or a link style (from the Mason and Bernstein reading), and build a story around them.
- Pick something interesting from the Sugarcube documentation and build a story around it.
- Try to avoid the “Diegetic Links” style as described by Mason and Bernstein (i.e., links like “Pick up the treasure” or “Move north”).
Consider how the hypertext structure of your game reflects and enforces the kinds of decisions you want the reader/player to make, and the experiences you hope to evoke. Consider also how Twine’s scripting capabilities augment (or detract from) the node/edge structure of the game.
Here are some good and helpful Twines. Think about how each works (structurally) as a hypertext, and how each makes use of Twine’s capabilities.
- A Kiss by Dan Waber
- Howling Dogs by Porpentine Charity Heartscape
- Star Court by Anna Anthropy
- Will Not Let Me Go by Stephen Granade
Optional additional readings:
- Green, Max. “How the Brain Reacts to Scrambled Stories.” The Atlantic, Jan. 2016.
- Salter, A. “Playing at Empathy: Representing and Experiencing Emotional Growth through Twine Games.” 2016 IEEE International Conference on Serious Games and Applications for Health (SeGAH), 2016.
- Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Johns Hopkins University Press, 1997. In particular: Chapters 1 (Introduction) and 4 (Hypertext aesthetics).
- To browse: Transverse Reading Gallery
- Wolf, Gary. “The Curse of Xanadu.” Wired, June 1995. www.wired.com.
- Daly, Liza. “Interactive Marginalia.” Liza Daly, 17 Nov. 2017.
You may also be interested in “storylets” (or “quality-based narratives”), in which hypertext is presented not as a sequence of nodes and edges, but as a database of lexia that are presented to the player when those passages match the current game state. Read more about storylets on Emily Short’s blog. The highest profile games that make use of storylets are Failbetter’s games (e.g., Fallen London and Sunless Skies). Bruno Dias’ Voyageur is another fantastic storylet-based game. There is an implementation of storylets for Twine. Watch the creators’ talk about it at NarraScope 2020.
Session 05: Environmental storytelling with Bitsy
- Bitsy tutorial
- Bitsy variables: a tutorial
- Borksy to “customize [Bitsy] games and add hacks without needing a web server or any manual cut-and-paste work.”
A few of my favorite Bitsy games:
Sketch #3 assigned
Due at the beginning of session 06.
Bitsy is a minimalist authoring system that affords the creation of interactive experiences focused on environmental storytelling. Make a short Bitsy game that takes advantage of this affordance. Consider: what actions can be undertaken in a Bitsy game? (What are the “verbs”?) Bitsy enforces a certain kind of visual style. What effect does this have on games that are made with the system?
Session 06: Interactive fiction and world models
- Sketch presentations and feedback
- Interactive fiction and world models
- In-class play: Adventure
- My Inform 7 tutorial, part one
To be discussed in session 07. These works simulate space and objects in space in different ways. Characterize the benefits and shortcomings of their approaches.
- Bronze by Emily Short. Play the game and then read Short’s making-of document. Use the walkthrough and as needed (or the spoiler-filled map). The Inform 7 Examples page for Bronze also has a manual and the full Inform 7 source code.
- The Fire Tower by Jacqueline A. Lott
- The Graveyard by Tale of Tales ($) (Optional: read the fascinating and detailed post-mortem)
- Subcutanean, part 1.
Optional but recommended:
- We’ll begin a playthrough of this in class, but you can also play on your own: Adventure by William Crowther and Donald Woods (You don’t need to complete this, but spend some time with it. Draw a map and use the walkthrough as needed.)
- 9:05 by Adam Cadre (Content warning: Violence. Don’t play this until after you’ve played the other two interactive fiction games listed above.)
- Gone Home ($) is the canonical “walking simulator,” often discussed in popular culture and games criticism. Very much worth playing and it will be referenced in a reading next week.
Session 07: Inform
- Reading/play discussion
- My Inform 7 tutorial, part two
Claire Evans’ chapter puts Will Crowther’s Adventure in both historical and interpersonal context. Mark Sample’s essay claims that the conventional of cardinal directions in interactive fiction, in concert with the trope of mazes (“twisty little passages”) in the genre, shows an Orientalist bias. Do you agree? Are there other conventions in IF (or other forms of computational narrative) that show similar biases? How would you design systems for narrative that are intentional and expressive in their biases? Ruberg contrasts the queer subject matter of Gone Home with the “rigid and linear” path the game imposes on player movement. Is “player movement… an important site of meaning in video games”? What alternatives are there to the kinds of player movement often implemented in “immersive” narrative games (whether text based or 3D)?
- Evans, Claire Lisa. “The longest cave.” Broad Band: The Untold Story of the Women Who Made the Internet. Penguin, 2018, pp. 83-94.
- Ruberg, Bonnie. “Straight Paths Through Queer Walking Simulators: Wandering on Rails and Speedrunning in Gone Home.” Games and Culture, vol. 15, no. 6, Sept. 2020, pp. 632–52.
- Sample, Mark. “The Maze and the Other in Interactive Fiction.” @samplereality, accessed 23 July 2018.
- Subcutanean, part 2.
The Jerz reading is a deep, detailed paper on Crowther’s “Adventure,” including its social, physical, cultural context and its source code (!). Along the way, it discusses interactive fiction’s history and legacy. While reading, consider: Is it important that “Adventure” is made out of text (and not, e.g., a 3D environment)? Is “Adventure” “literary”? How does the software implementation of “Adventure” affect its form and its interactive affordances?
- Jerz, Dennis G. “Somewhere Nearby Is Colossal Cave: Examining Will Crowther’s Original Adventure in Code and in Kentucky.” Digital Humanities Quarterly, vol. 001, no. 2, Sept. 2007.
- Montfort, Nick. Toward a Theory of Interactive Fiction. Accessed 4 Sept. 2018.
- Montfort, Nick. Twisty Little Passages: An Approach to Interactive Fiction. MIT Press, 2005. (Especially chapter 2, “Riddles.” Again, no online version unfortunately, but I can lend you my copy, or Bobst has a copy too.)
Session 08: Inform continued
- Reading discussion
- Inform 7 tutorial part three (notes TK).
Sketch #4 assigned
Due at the beginning of session 09. Pick a location or scene from an existing story (say, any variant of Cinderella) and “implement” it in Inform 7 by e.g. creating rooms with descriptions, objects to populate the rooms, and/or characters to talk to. Bonus: Implement a custom command/action in your story. Bonus 2: Make it possible to “win” your game (by, e.g., solving a puzzle, gaining a certain number of points, etc.).
Session 09: Grammar-based text generation
- Sketch presentation and feedback
- My basic Tracery tutorial
To be discussed in session 10. These works make use of data, simulation and text generation to produce narrative artifacts. Compare and contrast their approaches.
- Epitaph by Max Kreminski (This takes some time, be patient!)
- Episode 1 of Sheldon County by James Ryan
- Teens Wander Around A House by Darius Kazemi (NaNoGenMo thread here)
- Harry Potter and the Portrait of what Looked Like a Large Pile of Ash by Botnik (context)
- Oilfurnace by Tim Denee. (Context: What is Dwarf Fortress?)
Session 10: Simulation and narrative
Note: This session was cancelled (on 2022-04-11) because I got sick! I’ve updated the schedule with new dates accordingly.
- Reading/play discussion
- Propp-inspired Tracery story generation
To be discussed in session 12.
- Ryan, James. Curating Simulated Storyworlds. University of California, Santa Cruz, 2018, pp. 54-75. Excerpt PDF
- Short, Emily. Annals of the Parrigues. 2015, pp. 81-100.
- Reed, Aaron A. “Why I Made Subcutanean.” Medium, 29 June 2020.
- Reed, Aaron A. “A Minimal Syntax For Quantum Text.” Medium, 29 June 2020,
- Subcutanean, part 3.
- Riedl, Mark. “An Introduction to AI Story Generation.” The Gradient, 21 Aug. 2021.
Session 11: Simulation and narrative continued
- Final project proposals
- Simulations and events: Examples from TaleSpin and MEXICA
- Tutorial: Sea Duck. Examples in p5js web editor (feel free to duplicate these):
Sketch #5 (optional)
Make use of one of the techniques discussed in this unit (grammar-based generation, and simulation) to produce a computer-generated narrative.
Finish reading Subcutanean.
Session 12: Workshop
Date: 2022-04-30 (rescheduled make-up session, tentative).
- Reading discussion
- Discussion: Subcutanean
Session 13: Presentations
- Final project presentations
Session 14: Presentations
- Final project presentations
Previous iterations of this class had a unit on character and dialogue. For posterity’s sake, here are links to that content:
- Computational approaches to dialogue and character
- My Ren’Py tutorial
- Corpus-driven narrative generation (Binder version, Google Colab)
- My copy of aitextgen’s GPT-2 fine-tuning notebook
Suggested games and readings:
- Butterfly Soup by Brianna Lei (name your price)
- Galatea by Emily Short
- Hot date by George Batchelor
- Douglas, Dante. “Mass Effect, Dialogue Trees, and Romance.” Dante Douglas, 18 Mar. 2015.
- Short, Emily. “Conversation as Gameplay (Talk).” Emily Short’s Interactive Storytelling, 20 Jan. 2019.
- Artist, American. “Failure and Markup Language: Remembering Sandra Bland.” GenderFail: An Anthology on Failure, edited by Be Oakley, GenderFail, 2018
- Birdland by Brendan Patrick Hennessy (tracks statistics of player character in interesting ways)
- ELIZA. Try Joseph Weizenbaum’s “original example script.”