...of the story the player saw at a time. Games such as Ether that allow for very free movement through a highly connected volume...

...movement and discovery. But they’re not subtle and they don’t communicate anything to other characters; they don’t let the player role...

...The hand is in contact with the screen almost all the time, and movement is almost always meaningful; operating PRY feels tactile and analog...

...Ultimately — I’d be curious to see more examples of the interactive story method of asking the player to decide what to watch in...

...By far the most common technique I encounter, though, is to let the reader/player decide what they’re curious about, and explore non...

...Form some product is a controlled space
and the needs of the player dominate everything,
while themselves being dominated by the needs of the...

...Qualities determine the player’s skillset, but they also decide which storylets are available to the player at a particular time.
I’ve written...

...to produce forward movement, not a halting sense of difficult discovery. Versu characters talk, a lot, even if the player doesn’t say much...

...player’s likely mental bandwidth as they dipped in and out of the story, coming up with mysteries that allowed for lots of movement...

...The player sets up an environment, then watches while characters interact with it. See Lock and Key.
- Another variant: the player moves around watching...