Chris Crawford on Interactive Storytelling (76 page)

preferred,
190–193

relationship,
186–188
,
192–193

second-person,
186–188

Sensuality,
191

Trust,
186

unipolar vs. bipolar,
188–189

Virtue,
187–188
,
191
,
194–195

Volatility,
186–188
,
191

Wisdom,
188

PerVirtue,
192
,
195–196
,
248–251

PerVirtueReliability,
195–196

Physics and verb vs. noun thinking,
93–95

Pictorial languages,
177–178
. See also Languagebased strategies

Bliss symbolic language,
177–177
f

conlangs (constructed languages),
178

overviews and summaries of,
177

Plan execution,
262–266
,
304

deferred vs. immediate,
262–266
,
265
f

Erasmatron,
304

Planetfall,
337

Player correction,
209–212

Playing God,
86–89

Plot-interactivity comparisons,
49–52

Polarity (personality variables),
188–189

Polti, George,
156–159

Possibility tree analyses,
252

Power and power incentives,
43
,
187–188
,
191

Predicate logic,
316

Preferred personality variables,
190–193

Preparation time,
283

Preset arguments,
289–292

Privacy,
220–221

Prognostications,
77–79
,
306
,
343–352

for Erasmatron,
306

evolutionary school of,
344–348

overviews and summaries of,
343–351

revolutionary school of,
348–351

for Two Cultures problem,
77–79

Programmers and games people (techies),
69–71

Projection (stories),
317

Prompts (full),
289–292

Propp, Vladimir,
153–156
,
205

Props,
140
,
300

Puzzles,
17
,
132
,
141

Quantifying humanity concept,
110

Quicktest,
278

Reactions (deferred),
264–266

Reactivity factors,
27

Real time play,
62–63

Reality perception-language interconnections,
162
–
178
. See also Language-based strategies

Basic English system,
176–177

grammars,
169–170

graphical languages,
174–176

inverse parsing,
172–173

overviews of,
162–164

pictorial languages,
177–178
. See also Pictorial languages

semantic networks,
173–174

sublanguages and meanings,
170–172

vocabularies,
164–169

Recursive data structures,
224

Rehearsals and threadtests,
280–282
,
286–287

Related constructs,
335–342

adventure games,
336–337

digital storytelling,
338–339

graphic adventures/text adventures,
336–337

hypertext fiction,
337–338

interactive fiction,
336–337

knowledge representation and,
342

machinima,
339

narrative intelligence,
342

overviews and summaries of,
335–342

role-playing games (RPGs),
340–341

scriptwriting software,
339–340
,
340
f

simulations,
341

Relationship,
27
,
186–188
,
192–196

automatic adjustments and,
194–196

factors for,
27

variables for,
186–188
,
192–193

Required functions (drama managers),
202–203

RequireWitness situations,
220

Research-related issues,
307–334

AVEIRO project,
326–327

boolean thinking,
309–313
,
310f–311f
,
313
f

Cavazza, Marc and,
330–333
,
331f–332f

Charles, Fred and,
330–333
,
331f–332f

contextual sets,
321–323

Dr. K- Project (Rickman, Brandon),
319–320

DraMachina (Donikian, Stephane),
329

experience management,
315–317

Façade (Mateas, Michael and Stern, Andrew),
318–319

Figa, Elizabeth and,
317

Fuzzy Decision Based System (FDBS),
321–323

generic issues,
308–313

genetic algorithms,
321–323

Gordon, Andrew S. and,
315–317

Graphical Object Library (GOL),
322–323

hammer and nails concept,
309

Heuristic Search Planning (HSP)-based technologies,
330–333
,
331f–332f

Hierarchical Task Network (HTN)-based technologies,
330–333
,
331f–332f

Hybrid Evolutionary-Fuzzy Time-based Interactive (HEFTI) storytelling system,
320–323

IDTension (Szilas, Nicholas),
323–326

Integrated Authoring Environment (IAE),
322–323

interactive drama architecture,
329

InterTale (Berndtsson, Karin and Kindmark, Lena),
327

Iuppa, Nicholas V.,
315–317

JOSEPH (Lang, R. Raymond),
328

Knowledge Base,
321–323

Lang, R. Raymond,
327–328

Leggett, John and,
321–323

Ong, Teong Joo and,
321–323

overviews and summaries of,
307–308
,
333

Oz Project,
314–315

personal narrative agents and drama managers,
329–330

story components,
321–323

story grammars,
327–328

story projection,
317

story traces,
317

TaleSpin (Meehan, James),
327–328

Tarau, Paul and,
317

Understanding Comics (McCloud, Scott),
313

Virtual Storyteller project,
326–327

WordNet,
317

Resolution (dramatic),
59–60

Response-to-response factors,
27

Responsiveness factors,
27

Revolutionary incentives,
43

Revolutionary school (prognostication),
348–351
. See also Prognostications

awareness factors,
350–351
,
351
f

market factors and marketing,
350

overviews and summaries of,
348–350

Revulsion/Arousal,
189–191

Rickman, Brandon,
319–320

Rise and Fall of the Image the Fall of the Word (Stephens, Mitchell),
19–20
,
23

Role-playing games (RPGs),
340–341

Roles and sequencing,
265–266
,
301

deferred reactions and,
264–266

Erasmatron and,
301
. See also Erasmatron

hard-wired vs. soft-wired approaches to,
256–257

options selection for,
256–257

overviews and summaries of,
255–256
,
266

plan execution (deferred vs. immediate),
262–266
,
265
f

roles,
257–262
,
261f–262f

RPGs (role-playing games),
340–341

Sadness/Joy,
189–190

Sapir-Whorf hypothesis,
161–162

Scales (ideal),
59–60

Schemes (foldback),
126–129
,
126
f,
128
f

Science and abstraction,
83–84

Scoring systems,
212–214

Scripts,
287–293
,
301–302
,
339–340

editing of,
287–293

for Erasmatron,
301–302

scriptwriting software,
339–340
,
340
f

Second-person,
31–32
,
186–188

insights,
31–32

personality variables,
186–188

Secrets,
240–241

Segments,
323–326

Selection loops,
274–275

Semantic networks,
173–174

Sengers, Phoebe,
314–315

Sensuality,
191

Sequencing and roles,
265–266