Neal Stephenson On Fiction, Games, and Saving the World 91
An anonymous reader points out an interview with Neal Stephenson at The Verge in which he talks a bit about his upcoming "research-heavy" novel, his Mongoliad project to reinvent the fiction novel as an app, what he thinks about saving the world with sci-fi. He says,
"It would be saying a lot to say that SF can save the world, but I do think that we've fallen into a habitual state of being depressed and pessimistic about the future. We are extremely conservative and fearful about how we deploy our resources. It contrasts pretty vividly with the way we worked in the first half of the 20th century. We are looking at a lot of challenges now that I do not think can be solved as long as we stay in that mindset. This is more of an 'if you have a hammer, everything looks like a nail' kind of thing. My hammer is that I can write science fiction, so that's the thing I'm going to try to do. If I had billions of dollars sitting around, I could try to put my money where my mouth is and invest it. If I did something else for a living, I would be using my skills – whatever they were – to solve this problem, but since I'm a science fiction writer, I'm going to try to address it through the medium of science fiction."
Saving the World in Games. (Score:4, Interesting)
You! Yes YOU! I want you to save the world. No, seriously. Darkness has befallen your brethren, and all of the lands are at war. You're the only one that can change the world for the better. You'll play this amazing game or read an awesome story, the protagonist will accomplish amazing feats and your reward will be: A CREDITS ROLL! HELL YEAH! How many times have you defeated the most bastardly bastard, and that's it?! No more story? You don't get to reap any real reward after all that hard work mashing buttons, or turning hundreds of pages. Yet, that's the norm. It's what's economically advantageous.
True, the cost of high quality game assets is so much more expensive today, but I'm a game developer and story architect, not an accountant at all! In my stories I don't hang the carrot of climax over your head, promising you a brave new world you'll never live to see. Instead, you vanquish the great enemy, and keep right on playing exploring and interacting with the new world that you've actually just changed. Oh sure, it does get boring once everything is all sunshine and dandelions; In a single player game you might actually just throw in the towel then, and that's a fine conclusion.... However, with a multiplayer game there's always someone else stirring up the pot, awakening ancient evils and generally being a thorn in your side or an ever adventuring partner.
I come from a time before graphics, where asset creation was as easy as spilling words onto the screen, where we could actually live out the world of Peter Molyneux's dreams! I played and created highly immersive and open ended of games during the BBS era. My games were so vast and the world lore so rich that players were always trading details of the new areas quests they had discovered where none had ever ventured before. Unlike today's RPGs where you're spoon fed quests and skill trees, when you kill my Dragon it stays dead.... until some Necromechanic player discovers the secret to revive it.
The trick is to Love your game world -- No, really LOVE it, with both hands. Get down into every crevice and detail the scent of the dead Cyber Knight's Skull's Eye Socket, just in case some fool decides to "sniff" at it. To do that you've got to realise something that's lost to today's game designers and story tellers: Pride is the Enemy. You have to NOT say, "Look at all the beautiful and clever crap I made!", and shove every bit of delicious content down each and every player's throat to be sure they don't miss any awesomely detailed texture or architecture. No, instead you have to truly craft the world as best you can knowing full well that much of what is made will never be seen by anyone! That's what gives a true sense of depth and vastness to a world, that's what makes players/readers keep coming back for more. You have to set the stage, fill it with a rich and interesting past and tangled web of subplots galore waiting to unfold, then set aside your desire to tell some amazing single narrative arc and instead turn the players loose to explore and forge a unique story of their own making.
IMO, Neal Stephenson hasn't got what it takes, yet. He's never been there. He doesn't know how shitty his "app" book is in comparison to a living, breathing story that's never the same twice. He's never crafted a dynamic world out of text where NPCs and Players alike roam freely seeking adventure. He's never seen the logs full of players trading gossip, giddy with wonder while others retell epic adventures that no one could have ever pre-imagined in a billion years. I have. The MUD makers of old have. Neil may tell a single story with his great work, but to me that's nothing compared to telling thousands of tales with a single massive work. THIS [ifarchive.org] is where I'd like to see some ebooks go -- Not all ebooks, mind you, but at least a few?! Maybe even a MUD? You could do it without the real time component, even. Now the time is ripe again, it's foolish to be makin