Love Poems and Games: Twined Together

For most gamers, Zork is the classic example of a choose-your-own-adventure, text-based gaming experience. Although Oregon Trail is relatively adorned in images, italso fits the bill. When I think of this genre of game, my mind goes down a slightly different path. Instead, I first think of the Zork parody Thy Dungeonman, hosted on Flash cartoon site Homestar Runner. Then, I think of the queer indie games made in the early 2010s on Twine.

Open-source, hypertext-based storytelling tool Twine was invented by web developer Chris Klimas thirteen years ago. At the time, Klimas had no way of knowing what a hit the program would be in the indie gaming community, but was inspired by the creativity of its users to keep improving its functionality. On November 3, 2009, he wrote about finding a love poem that Dan Waber was scripting in Twine, and said, as a way of explaining “Why I’m Doing This,” “what I’m doing helps people do real things, to make poetry even. There aren’t that many developers out there making things that people make poetry with. I feel lucky.”

Black Mirror imports the choose-your-own-adventure format to viewers’ TV screens

Perhaps Twine’s greatest brush with mainstream fame occurred when the creative team behind Black Mirror used it to storyboard the interactive episode “Bandersnatch.” Mostly, however, Twine has occupied a countercultural space in the world of storytelling. As Adi Robertson wrote in last year’s “Text Adventures: How Twine Remade Gaming,” “Twine’s simplicity felt liberating. It imbued games with the DIY spirit of homemade zines, many of them weirder, sharper, and queerer than their mainstream counterparts.”

In 2013, The Guardian‘s gaming blog shared a post entitled, “Anna Anthropy and the Twine Revolution.” Anna Anthropy isn’t the only game designer highlighted in the article as a revolutionary in the world of gaming; merritt k and Porpentine Charity Heartscape are also mentioned as crucial figures who made the most of Twine’s capacities. Heartscape’s Twine works include Howling Dogs, an award-winning claustrophobic simulation of a prison cell, and k’s include (ASMR) Vin Diesel DMing a Game of D&D Just For You, which is exactly what it sounds like. As we ring in LGBTQ pride month, the Anna Anthropy Twine game that I’d like to look at closer is called Queers in Love at the End of the World.

Queers in Love at the End of the World lasts exactly ten seconds, time kept by a countdown in the corner of the screen. The game begins with the white text on a black screen, “In the end, like you always said, it’s just the two of you together. You have ten seconds, but there’s so much you want to do: kiss her, hold her, take her hand, tell her.” Each of the bolded words is clickable, leading to more options for how exactly you might want to spend these last moments. No matter what, when the countdown reaches zero, the game ends the same way: “Everything is wiped away” (more lyrical than The Oregon Trail’s “You have died of dysentery”). Clicking through to the afterword provides one last piece of context, the scrawled words, “WHEN WE HAVE EACH OTHER WE HAVE EVERYTHING.”

A year after dubbing Anna Anthropy a leader of the Twine Revolution, The Guardian published games critic Cara Ellison’s “A Verse About Queers in the Love at the End of the World. The subheading, “Twine developer Anna Anthropy turns game mechanics into poetry,” calls back to Klimas’ early inspiration: love poetry. Ellison’s verse refers to the ten-second timer as “tyrannical,” in agreement with Adi Robertson’s claim that Twine games “can compromise [the] sense of control” that a reader would normally have over the pacing of a choose-your-own-adventure-story. Ellison writes: “I want to treat those Twine rooms like Carrie’s prom night and gut them / I want to call that timer’s parents and say DO YOU KNOW WHAT IT HAS DONE TO ME,” pouring frustration onto the page. This is a desperate, angry love poem to a simultaneously brief and expansive interactive love poem.

My earlier post about translating poetry encouraged you to approach poems as games, with a willingness to engage in creative, productive failures. The queer Twine revolution of the last decade shows that it is also possible to treat games as poems. Any game built from language has the capacity to be movingly lyrical and verbally innovative (even a game of Dungeons & Dragons DMed by Vin Diesel). The first Twine Revolution may have passed, but Twine is still an available tool. Why not take it for a spin and map out a poem-game of your own? The second Twine Revolution might begin right on your laptop.


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Puzzling in the Past with the Fantastic Club Drosselmeyer Radio Show!

Over the previous four years, the organizers of Club Drosselmeyer have hosted an event in Boston set in a nightclub during World War II. The events have featured era-appropriate costumes, music, puzzle solving, dancing, and even a swing-time version of the Nutcracker Suite!

But given the current global circumstances, this year they redesigned their magical December event, and for the first time, folks outside the Boston area took part in a virtual Club Drosselmeyer puzzle experience presented as a radio show from the same era.

The first event was this Saturday, and your friendly neighborhood puzzle blogger was in attendance. And I just have to say… I was absolutely blown away by the show.

I’ve done a lot of puzzle-from-home things, from crossword tournaments to escape rooms, but none of them had the same style, ambiance, and energy as the Club Drosselmeyer Radio Show.

Allow me to explain a bit more.

Participants could either order a box of physical material to be delivered to the house (your Drosselbox) or download and print the necessary materials. But either way, you had puzzles and helpful items in front of you during the show.

drosselbox

[Some of the contents of your Drosselbox.
Puzzle materials excluded to avoid spoilers.]

Then you log into your account online, which gives the Club Drosselmeyer team your phone number and sets up your unique radio show page, which you have running online.

Every participant — or group, since you could play with up to five people (or more if people wanted to share roles) — had a scheduled two-hour window for the full solving experience. The radio show itself serves as musical performance, ambiance, and a built-in two-hour timer for your solve!

Plus you would periodically call into the Drosselmeyer Industries Switchboard with your phone to interact with prerecorded performances with the characters. A push-button system allowed you to answer questions and input puzzle solutions, which is already really cool. But, during the scheduled performance times, at points, you would be kicked over to the ACTUAL PERFORMER who voiced the prerecording you had just interacted with!

I must confess, I was startled virtually every time a voice said “Hello?” and then called me by name.

The interactions were so cool, and really immersed you in this fun roleplay aspect of the game as you gave them your solutions and were directed what to do next. The performers weren’t just professional, they were charming and helpful and it was an absolute treat to have these unique interactions with them.

Plus, your phone interactions would affect your individual radio show as you listened. You could trigger plot-specific updates and one of SEVEN different conclusions based on your contributions to the night’s events!

Oh, and what were the night’s events? Well…

In this scenario, puzzlers take on the role of an air raid warden and a civilian defense unit during World War II. It’s supposed to be a quiet night in Massachusetts while you listen to your favorite radio show. But suddenly, an air raid siren blares into the night, and you’re called into action!

I won’t go into the puzzles themselves, since solvers can still interact with the automated system, but I do want to highlight the radio show itself.

The music and sound design were absolutely top-notch, really adding to the whole experience. The music varied from soft lilting pieces to absolute big-band bangers, and it all felt so perfect for the time period. (I actually had to go back to listen to some of the song performances afterward, because I was so in-the-zone with my puzzle solving that I barely registered them.)

There was a post-show videochat so that players and performers could show off their period-specific costumes and interact, and I had the pleasure of speaking to several of the performers. They were incredibly welcoming and interested in the players’ solving experiences, and the mellow after-show aspect was a delight.

drosschar0

[Just some of the characters you interact with through prerecorded messages AND live chats during the actual show!]

I inquired whether they’d be doing another Club Drosselmeyer Radio Show in the future, but the performers seemed quite anxious to get back to their usual live show format. I can appreciate that, but I sincerely hope they do this again. Eschewing videochats for a pure radio show-style feel was so engaging and felt so fresh and vibrant, and the phone interaction system (both automated and live) was truly impressive.

I simply cannot say enough good things about this experience. The puzzles were cleverly designed and varied in challenge (to allow for easier solving paths for less-experienced players or puzzle-light listening experiences), and the performances were outstanding. The entire team, from puzzlers to technicians to performers to musicians, should be very proud.

The Club Drosselmeyer Radio Show was an absolute blast. I loved every minute of it. (Yes, even the minutes wasted making dumb mistakes on a puzzle. *laughs*)

[Please check out their website here for all things Club Drosselmeyer.]


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Welcome to the World of Wordventures!

You can hear the lapping of the waves, even at a distance. A slight breeze heightens the chill in the air. The moon is already on the rise, casting long shadows that look as if they’d love nothing more than to reach out and grab you.

Night is quickly falling as you climb a hill, the last hill on your long journey. A small collection of buildings comes into view. You pass an old wooden sign that marks the town line.

Mistyvale Oaks.

A town full of strangers, distrusting souls that probably won’t take kindly to your intrusion.

A town full of secrets, a seaside port with rumors of ships both real and otherworldly haunting its shores.

A town with a horrifying history, where the laughter and playful patter of children’s feet are absent.

The children of Mistyvale Oaks have disappeared, and you’re the only one who can solve the mystery.

Welcome to the opening scenes of Wordventures: The Vampire Pirate, our newest puzzle app. This immersive story-driven puzzle-solving experience places you in the shoes of our nameless protagonist, who has followed stories of an ancient cult to this foreboding place.

Puzzles and exploration go hand-in-hand in Wordventures. As your character investigates in the story, going first from building to building, and then beyond into the mystery of Mistyvale Oaks, you search for key words in each puzzle grid, revealing small clues, new personalities, and important revelations in the narrative.

Along the way, evocative music and gorgeous artwork draw you further into the story, urging you forward as you fill your investigative journal with crucial information, other paths to explore, and the lore behind the curious objects you discover as you search.

And as you progress through the story, more supernatural elements come into play. You’ll need to rely on your wits, your puzzly skills, your investigative chops, and your trusty journal to solve the mystery!

What happened to the children of Mistyvale Oaks? What about the rumors of a ghost ship spotted nearby for years? And where does the vampire pirate of the title fit in?

Well, the only way to find out is to solve a mystery yourself! Click here to learn more about Wordventures: The Vampire Pirate and download the app now!


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It’s Follow-Up Friday: Murder Mystery edition!

Welcome to Follow-Up Friday!

By this time, you know the drill. Follow-Up Friday is a chance for us to revisit the subjects of previous posts and bring the PuzzleNation audience up to speed on all things puzzly.

And in today’s post, I’d like to follow up on last week’s murder mystery post.

In the previous post, I gave you some of the backstory and logistics of our in-office murder-mystery event, and today, I wanted to discuss the event itself.

Our murder happened Monday night — the fictional J. Augustus Milverton Puzzlenationo would breathe his last breath near the photocopier — so Tuesday morning marked the official start of the game.

And since we’re an office full of puzzlers, the morning began with something of a logic puzzle, as the players were given a list of passcodes used to enter the building, but they needed to figure out who had used them and at what time.

You see, someone’s passcode being used at a certain time didn’t necessary mean that person was actually entering the building at that time. Someone could’ve used another player’s code. (Information involving times and identities was scattered throughout emails to all 10 participants, so it would take a fair amount of cooperation to unravel this.)

But since all of the players were suspicious of each other — which was wise, given that several “solvers” were actually following my orders throughout the event to fulfill certain tasks — the first day didn’t involve as much cooperative solving as I’d hoped. (That would come the next day out of necessity, as alliances began to form and more information was shared.)

As I fielded questions from players asking for further details — and several clues were discovered and analyzed — the first of several complications for the players was revealed: a fellow player was “killed.”

This not only upped the stakes for the players, but led to one of my favorite moments in the game. You see, when a fellow player stumbled upon the body, he wasn’t sad that his coworker was dead…he was sad because he couldn’t ask him any questions. (Though, intrepid solver that he was, he asked if a Ouija board was out of the question.)

For the rest of the day, I was fielding all sorts of instant messages and emails from players, asking for information, cashing in Holmes Tickets, clarifying things, and trying to fit the pieces of the puzzle into place. Early theories emerged. Some were wild guesses, and some were surprisingly close to the truth.

Our event played out in real time, so the players were aware that things could happen outside the workday that would impact the game. People seemed reluctant to leave, just in case they missed a clue.

Day Two opened with another red herring — punny threats sent to three of the players, delivered in envelopes that pointed to another player (a gambit by the killer to put the spotlight on someone else) — and a few secrets had already come out.

Players openly offered information to each other in a group email, which helped resolve some red herrings and put other pieces into place. More clues were uncovered, but the murder weapon remained elusive.

Lunchtime was orchestrated to be a tipping point. Not only would another murder occur, but other plans and clues would come together. I gave one of my collaborators two missions to accomplish while the players were away from their desks. Hopefully, she’d be able to accomplish both, but at the very least, she had to accomplish one of the tasks.

There were a few of these open-ended narrative moments written into the story where the players had the chance to surprise me with what happened and what didn’t. Not only did those moments make the game more fun for me to run, but it gave other players chances to really inhabit their characters and get into the performance side of the gameplay.

Lunchtime allowed for more group theorizing — something that the workday hampered, as you might expect — but the real fireworks awaited players upon their return.

A trap was sprung, and another player died unexpectedly. Although some chaos did ensue, most of the players realized this latest death was the work of another party, and several of the players solved it quickly before returning their attention to the first two murders.

In the midst of all this, two real-world complications arose on Day Two.

The first involved a player dropping out due to a mix of time constraints (she felt the game was distracting her too much from work) and general frustration with the format of the game (which, for someone unfamiliar with immersive storytelling like this, is totally understandable). I was sad to see her go, and adjusted the story accordingly, recovering a clue from her and redistributing it to an active player.

The second involved the pace of the game itself. I’d hoped to run it over the course of Tuesday and Wednesday and have it wrapped up that second day. But between the elaborate unfolding plot and the difficulty in balancing gameplay with, you know, actually getting our work done, things were progressing more slowly than expected.

That darn workday. Such a nuisance.

So the game rolled into Day Three, and players could sense the end was near. Most of the puzzle pieces were there for the taking, and several compelling theories emerged. (Honestly, one of them was better than the story I’d actually written, which was both funny and a little humbling.)

To add a bit of drama, I set a deadline of mid-afternoon. If the murders hadn’t been solved by then, the killer would escape scot-free.

Things finally steamrolled to their conclusion when the murder weapon was revealed — in the hands of a thief who had been woven into the plot — and one of the players came close enough to cracking all three murders that I declared the mystery solved. (And our ace detective did so before the deadline, so no escape for our dastardly murderer.)

It was different from any murder-mystery event I’d run before, and everyone seemed to enjoy it. There were certainly flaws in execution, as there are in any first attempt, but I learned some valuable lessons in this play-through that will make other such events in the future smoother, more satisfying, and more engaging.

Although…I hadn’t considered the potential consequences of the event on workdays going forward; everyone seems a bit more wary of each other. (And there are a few vengeful “spirits” lurking about, hoping to avenge themselves in future games.)


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Interactive Puzzling is Murder on a Work Day!

[Image courtesy of Carriageway.com.]

It all started with a board game at lunchtime.

TableTop Day is a popular annual event here at PuzzleNation, and several of my fellow puzzlers enjoyed it so much that they wanted it every week. Well, we couldn’t swing that — deadlines and all — so we play games every Wednesday during lunch.

During a particularly spirited round of 10 Minutes to Kill — a game where every player controls a hitman trying to take out three targets without being identified by the other players or the police — the subject of murder mysteries came up, and I let slip that I’d helped write and run several murder mystery dinners in the past.

[Image courtesy of Vancouver Presents.com.]

So, naturally, the idea of running a murder mystery at work became a recurring topic of discussion.

As a huge fan of interactive storytelling — be it tabletop role-playing games like Dungeons & Dragons, improv theater, LARPing, or other group activities — the idea appealed to me.

Of course, I had one huge hurdle to overcome: the work day.

You see, murder mystery dinners thrive on the theatricality of the event. Attendees can overhear arguments, catch snippets of banter and exposition as they walk around, and engage characters in conversation to learn more. The more you interact with the story, the better chance you have of solving the mystery, but even passive players will get the big picture.

But in a normal workday, I can’t stage big elaborate sequences, like a failed marriage proposal or someone tossing wine in another’s face. I’d have to find another way to deliver information, mysteries, and drama.

Thankfully, as a puzzler, I’m accustomed to writing clues. Cluing is simply delivering information in unexpected ways. Whether it’s through deceptive wordplay, puns, or connections with other entries, crosswords and logic problems are excellent training for being creative and stealthy while presenting important information.

So, I mapped out the murder and the characters I’d need to pull it off, and cast those characters from a group of fellow puzzlers. At the same time, I gauged interest from other coworkers to see who’d be interested in trying to crack the case, and began devising ways to weave them into the narrative. (This was more intimate than writing your usual murder mystery dinner for random attendees, since the latter is more about creating scenes than tailoring it to specific people and circumstances.)

[Can’t have a murder mystery without an animal for someone to pet fiendishly.
In this case, my trusty armadillo in a cowboy hat, Armando.]

My goal was to get everyone prepped to play on Monday, and then actually run the mystery on Tuesday and Wednesday, with the murder having occurred overnight.

Which led to another big hurdle. I couldn’t exactly stage an elaborate murder scene in a way that was unobtrusive to the workday, so I’d have to describe the scene to the players and let them ask questions about it.

But how do I leave clues for the players that are readily identifiable as clues and not just the ephemera of a working office? After all, any good murder investigation needs some convenient clues to uncover that will help unravel the mystery.

I opted to mark any clue (which were most often color pictures of actual items, like a stashed wallet or a threatening letter) with the symbol below, to remove any doubt that this item was involved someway in the murder mystery:

Okay, that takes care of the clues. But what about the actual interaction, where players ask questions of characters and gain the valuable knowledge needed to solve the crime?

Sure, a lot of that can be done through group emails and instant messenger programs, encouraging the investigators to share what they’ve learned, so there wouldn’t be random gaggles of investigators creating a distraction as they ponder the latest clue found or deduction made.

As a storyteller, whether you’re running an RPG or a murder mystery, you not only need to know the details of your story backwards and forwards, but you need to anticipate what questions the audience will ask.

And no matter how prepared you are, I assure you, the players will ALWAYS find a way to monkey-wrench your plans, whether they approach the problem from an unexpected direction or they ask for information you hadn’t prepared in advance. There had to be a simple way to reflect this in the actual gameplay.

To deal with this, I borrowed an idea from Lollapuzzoola and created Holmes Tickets, which were catch-all requests for deeper insight or information than had been provided. Basically, anything that would require outside intervention or skills beyond that of the casual investigator could be revealed by spending a Holmes Ticket.

Dusting for fingerprints, getting ahold of a coroner’s report, uncovering information on a missing check…all of these and more were results of investigators cashing in their Holmes Tickets at various points in the investigation.

So, how did the actual murder mystery go? Well, I’d love to tell you, but it’s not finished yet! The work day proved more intrusive than expected — damn those pesky deadlines and responsibilities! — so we’re rolling into a third day of passive gameplay.

By hook or by crook, the story will be wrapped up today, and I’ll be able to fill you in more on the actual story, clues, and progression of each investigation. For now, I’ll just let you know that there are currently three bodies to account for (our killer has been busy since Monday night), and a host of theories, but no firm accusations yet.

We shall see if justice is served or if our crafty killer gets away.


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