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https://ceur-ws.org/Vol-1628/Creative_paper2.pdf
Decline And Fall
Mark Bernstein
Eastgate Systems, Inc.
134 Main Street
Watertown MA 02472 USA
+1 617 924 9044
Bernstein@eastgate.com
Potboilers and page-turners may not, indeed, have been the
most pressing concern of literary hypertext, but a
1. ABSTRACT generation has now passed. The summer is over, and we
Decline and Fall is a new Storyspace hypertext fiction, a school
story based loosely on The Trojan Women. It sets out to be an cannot say with great confidence that we know how to
exciting hypertext, a potboiler: a hypertext in which things write an exciting hypertext that is not a game. Games are
happen, while remaining within the tradition of literary hypertext. fine things, but their excitement substantially stems from
the reader’s agency (however problematized) and the
CCS Concepts
promise (however symbolic) that one might win. Decline
and Fall is not a game, at least not beyond the extent to
• Software and its engineering ➝ Software creation and
which any storyteller and any self-aware reader can be said
management ➝ Designing Software • Applied Computing ➝
Computers in other domains.
to be playing a game [11]. The plot (that is, the way the
underlying story is told) is likely to be different in each
Keywords reading, but we begin roughly where The Trojan Women
Storyspace, hypertext, hypermedia, literature, fiction,
begins, after the fall of Troy1. The reader has no agency in
education, design, implementation, support, history of the story world. No man and no god could prevent that fall,
computing, maps, links. nor can all your piety and wit cheer up Cassandra or rescue
Polyxena, soon to be the bride of dead Achilles.
2.1 The School Story
2. ARTIST’S STATEMENT Troy has fallen but work remains: there are crops to plant,
Decline and Fall sets out to be an exciting hypertext, a forms to fill out, taxes (and hell) to pay, and exams to pass.
hypertext in which things happen. Decline and Fall opens as people who survived the
conflict–school teachers and their privileged and sheltered
Early hypertexts were not, for the most part, greatly students – go about the business of the world. Things have
interested in excitement [2]. This was neither a mistake nor changed: some of the kids have lost a parent, and many of
a vice; the important task facing hypertext was to achieve their parents have lost their money or their jobs or their
what print could not, to discover what lies beyond the government post. Quite a few of their former schoolmates
electronic imitation of the codex book. The writers of the are refugees now, or have fled the new government’s ethnic
1980’s and 1990’s could readily look back a hundred years
to find wonderful explorations of the narrative line. That
we could manage Gardner’s perfluent dream seemed sure
[6]; whether we could break the line and still find meaning
in a life without the illusion of God and the myth of
Romance seemed doubtful.
1
The Trojan Women, written by Euripides in 415BC, presents the
miseries of Helen, formerly queen of Troy, and of her daughters
as they face slavery and worse at the hands of the victorious
Greeks. The same events are the subject of Euripides’ earlier
Hecuba. Seneca revisited the story in 54CE. Berlioz turned it
into an opera. Charles L. Mee’s Trojan Women: A Love Story
refracts the play through Hiroshima and Holocaust. Mee, like
Euripides, sets his play against universal catastrophe, but
Decline and Fall describes the aftermath of chronic, endemic
violence – Vichy, perhaps, or Kigali. It may not be the end of
the world but, for Hecuba’s daughters, it is catastrophe enough.
cleansing. The former headmaster, too, has been forced to 2.3 Allusive Pleasures
leave the country. Simply amassing suspense, perhaps occasionally
punctuated with bathos or humor, might leave us with only
As The Trojan Women opens at the end of another story, a feeble entertainment. Because hypertext is inherently
we do not begin by joining the incoming freshmen. Instead, reflective – the reader, after all, must choose the links they
we join the returning seniors, students whose school days want and so must consult their own preferences – a merely
are already nearly behind them. We meet them late their melodramatic hypertext might compete with difficulty with
story. They have all known each other for years. They immersive media like theater, film, or narrative painting.
know each other’s secrets, or at least imagine that they do:
they know about Linnea’s unaccountable crush on Trish Decline and Fall uses its dependence on The Trojan
“Farmgirl” Parker and are very mature about it, just as they Women and other familiar talks to create tension between
know that May Elster, despite her terrific clothes and anticipation of familiar story elements and unfamiliar
pearls, has to spend her summers behind the counter of the settings. The head girl of Hill Academy, we learn, is Polly
family shop. They know that Cassie used to be cute and Xena: what is Polyxena doing in our school, what is going
popular, before she went peculiar, three years ago. (They to happen to her, and when will it happen? Other elements
don’t yet know that mousy Bri Atkins, of all people, has which seem routine passagework turn out to be allusive;
been sleeping with the Science Master, who is terrified of Colonel Wiley is not one of John Wiley’s Sons.
losing her and of equally terrified of losing his position,
and who knows that he will, inevitably, lose both.)
2.4 Excitement Without Agency
Games create excitement by offering the reader an
There’s a lot going on. opportunity to take a part, promising to let us be Hamlet on
the holodeck[10]. I have argued elsewhere that agency is
The nineteenth-century school story ends in graduation. inimical to the spirit of tragedy[1], but here agency is
The school story of the twentieth century ends with the beside the point. We are in school, and though children
dissolution of the school. Decline and Fall promises a may take arms against a sea of troubles, we can hardly
resolution; though it acknowledges that closure is a suspect expect them to oppose tanks and artillery. The outcome is
quality, it’s also a pleasure, one from which we need not not in our hands or our game controllers.2 The only thing
forever abstain. One way or another, this darkness got to our characters have to decide is, what to do with the time
give. that is given them.
2.2 “I’ve Got A Bad Feeling About This” If excitement cannot come from the reader’s efforts to
Decline and Fall spirals around Hill Academy, an instance solve the puzzle or win the war, we can find it in familiar
of the elite secondary school familiar from Tom Brown to narrative pleasures. Like the Victorian serial novel, we may
Harry Potter. Much is familiar; we have Houses and arcane find energetic springs to propel the reader past the obstacles
rules, we have prefects and masters and sporting matches that the medium (and the distractions of life) place in their
with other schools. Some of the students are rich. Some way. Some of these include:
have titles.
• Sympathetic characters who are in trouble, or who do
And yet, things are not quite right, either, for these are not not have the one thing they desperately need.
the playing fields we know. The political situation (about • A setting that is at once familiar and anomalous,
inviting the reader to resolve its discordant elements.
which everyone talks obliquely) matches nothing in
• The promise of a story, offered at the outset and
English history or any plausible alternate history. A revolt frequently repeated [9].
or uprising has taken place, followed by the arrival of • An upright world that is turned upside down to create a
peacekeepers and the creation of new institutions with (literally subterranean) mirrorworld in which children
insidious echoes – a People’s Provisional Court, a become leaders and authority proves feckless.
paramilitary outfit called The Security. There’s a war on, in
the East, and some of our kids have older siblings who have
been conscripted.
In this way, in addition to the desires and the fears of a
substantial cast of students and their teachers, the world
itself offers narrative thrust. 2
See especially Jason Morningstar’s game The Gray Ranks, in
which the player-protagonists are teenagers trapped in the
Warsaw ghetto,
2
• The gradual and progressive unveiling of the heroine 4. ACKNOWLEDGMENTS
[8], physical or psychological. I am grateful to Mark Anderson, Bill Bly, Em Short, Bruno
• The horror of children at war can become nearly
Dias, Diane Greco Josefowicz, and Paul Czege for
intolerable[4]. If those children also possess ideas – if
they think – the conflict of ideas can relieve and redeem discussions on topics touched on here.
the mud and blood[7].
2.5 Challenges 5. REFERENCES
School stories often require a large cast: schools are [1] Bernstein, M. 2001. “Card Shark and Thespis:
crowded places. Keeping the characters straight has been exotic tools for hypertext narrative”. Hypertext 2001:
challenging. Continuity mishaps – for example, the Proceedings of the 12th ACM Conference on Hypertext and
unexplained appearance in one scene of a character who Hypermedia. 41-50.
died is another – are distracting or worse. The new
semantics of Storyspace 3 help break cycles and maintain [2] Bernstein, M. 2010. “Criticism”. Proceedings of
continuity by allowing writing spaces and notes to assert the 21st ACM conference on Hypertext and hypermedia.
requirements. 235-244.
Schools, like grand hotels, are places where people are [3] Bernstein, M. 2009. “On Hypertext Narrative”.
always coming, always going, and where nothing ACM Hypertext 2009.
changes[5]. If we relied on mere simulation, the reader
would not know where to look: there’s a lot happening, a [4] Collins, S. 2008 The Hunger Games. Scholastic
million stories in the naked city. Press.
Hypertext narrative contains four kinds of links: recursus, [5] Ebert, R. 2000. “review of “Wonder Boys””.
timeshift, renewal, and annotation[3]. Timeshift is inherent Chicago Tribune.
to the first act: once upon a time. Recursus lets us explain
how we got into this mess and why we want (or need) what [6] Gardner, J. 1983 The Art of Fiction: Notes On
we desire; it is the link of the second act. But renewal is the Craft for Young Writers. Vintage Books.
link of the third act: “there was one thing they had
forgotten.” This combination of timeshift or recursus [7] Hugo, V. 1862 Les miserables. Nelson.
leading to renewal is an engine that propels us forward.
[8] Mamet, D. 1996 Make-believe town : essays and
The argument for the serious of the medium, so central to remembrances. Little, Brown.
early hypertexts, has perhaps now been settled. In any case,
expectations of electronic media allow us to establish a
[9] Mamet, D. 1998 Three Uses Of The Knife: on the
modicum of seriousness simply in avoiding another captive
nature and purpose of drama. Columbia University Press.
princess demanding rescue or another Macguffin to be
fetched from the dragon. This meant to be a potboiler; it’s
got to be exciting, and that means the stakes need to matter. [10] Murray, J. 1997 Hamlet On The Holodeck: The
Future of Narrative in Cyberspace. The Free Press.
An underlying difficulty, and one which continues to
perplex this work, is the struggle between taste and distaste, [11] Perec, G. 1987 Life, a user’s manual : fictions.
squeamishness, or revulsion. This is war, and this is hell, Collins Harvill.
and we must not sanitize it with Orwellian euphemism or
pretend that magic or the hero’s romantic excellence will
save them. This is a story about a girl who must die and
another girl who is mad. The situation is pathetic. Bathos
and sentimentality are ever-present hazards.
3. DESCRIPTION OF THE PIECE
Decline and Fall runs approximately 88,000 words. It’s
written for Storyspace 3.1, which runs on OS X 10.10 and
later.