4 of 4 people found the following review helpful
5.0 out of 5 stars
How to use processes to create experiences, July 10 2011
By M. Nelson - Published on Amazon.com
This review is from: Expressive Processing: Digital Fictions, Computer Games, and Software Studies (Hardcover)
This book is a great read, highly recommended for anyone interested in how to use computers for expressive purposes, whether in artificial intelligence systems, videogames, or electronic literature.
Wardrip-Fruin's basic point is that processes are the mechanism by which computers function as "media machines", and we should analyze expressive/aesthetic computational works by looking at what processes they use, how they use them, and what the effects are. This avoids either treating them as black-boxes to be understood only by looking at effects on audiences, or as technical artifacts to be understood by looking at literal lines of C++ or Lisp.
But, refreshingly, the vast majority of a book is not a theoretical argument for that point. Instead, it gets its hands dirty analyzing a number of specific pieces, to understand how each one works: what processes does the system use, for what purposes, and how does that contribute to its goals and experience? How visible or hidden are the processes from the user/player? If we trace what can actually happen in a system, how does this match up with what processes it nominally claims to be using?
Much of the tension the book identifies is between the internal processes of a system, and what users/players think is going on. The well-known "Eliza effect" takes place when a system appears to have more processing going on than it actually does. The canonical example is the classic chatbot Eliza, which users often think is doing complex internal AI to respond to their queries, while in reality it uses extremely simple logic. To this effect, Wardrip-Fruin adds the opposite: in the "Tale-Spin effect", a system is doing a bunch of complex internal processing, but in an invisible way, so that users think that a system is actually fairly simple. The book's analyses of Universe, Minstrel, Terminal Time, F.E.A.R., and BRUTUS along this axis should be of particular interest to anyone wanting to make entertainment or artistic use of AI systems.
There are many more specific insights as well; among too many to list, the section on dialogue trees (starting on p. 51) is probably the most thorough analysis of different kinds of dialogue trees, and how and when to use them, that I've seen in print. Since the book has something of a case-study format, these can profitably be read in isolation for someone who doesn't want to read the entire book. Some of the works profiled at length include: the videogames Sim City, F.E.A.R., Knights of the Old Republic, and Façade; the story-generation systems Minstrel, BRUTUS, Tale-Spin, and Universe; the chatbot Eliza; and the satirical AI systems The Goldwater Machine and Terminal Time.