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2022 | OriginalPaper | Chapter

On Story

Author : Mark Bernstein

Published in: The Authoring Problem

Publisher: Springer International Publishing

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Abstract

Category fiction—mystery, science fiction, fantasy, and horror among others—arose as a way to sell magazines and books to an audience that was eager to explore specific serious, storyable questions about the nature of the world and its woes. Understanding the frameworks on which these categories rest can inform the craft of interactive fiction while reminding us (and our readers) of the questions these stories address.

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Footnotes
1
Beowulf, for example, is not fantasy. Beowulf has a job to do, a place in the world. In the world of the Beowulf-poet, everyone does. Beowulf’s job sometimes involves fearsome beasts, but this is no great surprise to Beowulf and his men. [47] Fantasy concerns our suspicion that the world we know is an illusion, a veil that conceals the world as it really is; elves and faeries are sometimes a convenient shorthand, but they are not the point. Just as it can be rewarding to stage a familiar story—Hamlet, say—in modern dress, writers may borrow the trappings associated with a popular framework without attempting to explore that framework’s story.
 
2
Kitsch can have its own pleasures, and is comparatively harmless when seen for what it is. Occasionally, even corporate investors may take modest risks, as when a troubled publisher tried to revive a moribund franchise with Spec Ops: The Line—a costly AAA war game that adopted a moderate anti-war stance. It remains a beloved IDN, though this 2012 title failed to save its publisher’s balance sheet or its creative team.
 
3
I use “category fiction” here in preference to “genre fiction”, because “genre” has a different meaning in literary criticism.
 
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Metadata
Title
On Story
Author
Mark Bernstein
Copyright Year
2022
DOI
https://doi.org/10.1007/978-3-031-05214-9_12