Departures, a return to interactive fiction.

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I have been in love with interactive fiction ever since the first time I slipped the first 5¼” floppy of Infocom’s “The Hitchhiker’s Guide to the Galaxy” into my Commodore 64’s disk drive. It was an intoxicating melange of Douglas Adams’ peculiar brand of surreal silliness, devious puzzle-solving, and the idea that I could slip inside a story and become part of it.

Later, I would find some measure of satisfaction in constructing scenarios and settings within MUDs, but did not know enough about coding to do much more than world-building and Easter-egg-hiding. Role-playing was firmly within my wheelhouse, though; as a theatre brat who dabbled in playwriting, stage directions and emotive word-choices were second nature to me. I decided that role-playing was my bag, and I’d leave interactive fiction writing to the professionals.

But interactive fiction popped up on my radar again when I came across Zoe Quinn’s “Depression Quest”. It hit me hard the first time I played it, then harder on replay: certain options you wish to take are simply unavailable to you. They sound good. You know you should do them. And yet you cannot. This, to me, communicated an intrinsic aspect of depression. It was a brilliant piece of game construction. The rest of it is also excellent, but this part stuck with me. I was curious about how it was built, and that’s when I first heard about Twine, an open-source tool for telling interactive, nonlinear stories. I noodled around with it a bit but didn’t have a story idea begging to be told this way, so I promptly forgot about it.

Recently my friend Gavin Inglis wrote an interactive story called “Hana Feels”. “Story” seems like a flaccid descriptor here because the project’s goals are much larger than telling a story. “Hana Feels” teaches us how to talk to people who self-harm. It exercises our empathy muscles. It asks us to push past our own experience to connect with another human who needs it most.

“Hana Feels” is a poignant and dismaying and important piece of writing, not only for addressing the stigma of talking about issues such as self-harm but for showing us there is still a great chasm between what we say, what we mean, and what someone in distress is capable of hearing and understanding. I don’t want to spoil it for you, so see it for yourself (note: it is still in beta, with the final release later this month). Gav created this story with Twine, and experiencing the complexity of “Hana Feels” inspired me to reconsider using Twine to write interactive fiction myself. And then he told me about Twiny Jam, an event that ended just this morning, in which creators use Twine to make a 300-word interactive moment and share it with each other.

The prospect scared me. So I knew I had to do it.

Some time ago, I confided in a dear friend that the worst part of saying goodbye is the moment where you could, if you wanted, turn around and just not go. Just stay. I described this particular feeling in an airport — when we were still able to accompany our loved ones to the gate — but you can think of it in any setting, physical or not. We encounter this moment all the time and yet we somehow make the choice, the reasonable choice, over and over.

The idea for this particular story came from not making the reasonable choice. Most of the story was cut due to the jam’s word-count limit, but I’ll tell it in longer form someday. For now, it says what I wanted it to say. It’s called “Departures” and I hope you enjoy it.

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4 thoughts on “Departures, a return to interactive fiction.

  1. Meant to mention–waking up with the unmistakable marks of self-harm…? There is the inclination, there are the dreams, but no waking action. I have never been a ‘cutter’.

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