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function with, say, only a thousand verbs, then the verbs available to the user
at any given point must be confined to the dramatically most significant op-
tions. Such a short list of options is most conventionally handled with a menu
structure. Fortunately, this does not force us into the classical and unaccept-
able branching tree structure used in so many previous attempts at interactive
storytelling. By taking advantage of the generality afforded by an extended sen-
tence structure, individual verbs can be designed to handle a wide variety of
situations and can be re-used many times in a story without imposing tedium.
Consequent structure of the engine; embellishments
The core design of the storytelling engine arises almost spontaneously from
these considerations. Starting from an event, expressed as a sentence in the
form above, the direct object considers each of the options available and
chooses one, at which point it becomes a plan. The plan is then executed and
becomes an event, which starts the cycle all over again.
Little percipience is required to compile a long list of flaws in this basic de-
sign; the Erasmatron storytelling engine is therefore burdened with an equally
long list of modifications, embellishments, and special considerations so that
it can address such flaws. For example, the drowsiest reader will immediately
note that this design imposes a two-character alternating pattern on the story-
line; additional characters can play no role in the story. This killing problem is
easily addressed with a concept I refer to as a
role
.Asadatastructure,arole
has a boolean expression asserting the requirements a character must satisfy in
order to play the role. It also includes a list of options - verbs - available to
the character playing the role. Whenever an event takes place, the engine polls
each of the characters who witness the event, starting with the bystanders. Each
bystander is tested against the role requirement; if the bystander meets the re-
quirements, then that character selects one of the offered options. In doing
so, the character has the option to
hijack
the storyline, precluding any other
characters from reacting to the event. Thus, in example presented above, An-
toinette could intervene before Vincent reacts to Pierre, hijacking the storyline
and precluding Vincent's reaction.
Additional embellishments include provisions for time-deferred execution
of plans, and plans deferred until appropriate audience requirements have been
met (a man and woman deferring sex until they are alone, for example).
Theenginealsoprovidesasetofstagesonwhichactioncantakeplace;this
insures that dramatically necessary subsets of the cast can be assembled at one
place. The artist designing the storyworld can specify
territorialities
that spec-
