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Review: Kate Pullinger’s Jellybone

Review: Kate Pullinger’s Jellybone

Jellybone Cover Image

Jellybone
by Kate Pullinger
2017
oolipo / App


For some unknown reason I am one of those people that you find sitting and waiting at bus stops, train stations, in between lectures and the like. Maybe it’s the universe conspiring against me, maybe it’s the public transport system but either way I spend a lot of time waiting around. And, being someone from a part of the country where you do not make eye contact, you avoid all interaction, just queue politely and check your watch frequently with a huff to state your displeasure of having to wait; it was an intriguing prospect when I heard about oolipo.

Oolipo is a new mobile storytelling platform launched in 2017, though it has been in the works since 2015. The creator, Bastei Lübbe (co-funded by Johannes Conrady and Ryan Mullins), saw the gap in the market and brought multimedia storytelling to smartphones, introducing a hybrid of digital storytelling on the go.

The first story I started with was Jellybone.

Florence Evans is a young woman in living at home with her father in London whilst working the daily grind of an unpaid internship. You are drawn in immediately to the story:

Jellybone Screenshot

There is also the background noise of a bustling street, further immersing you into the atmosphere of the narrative (it’s advised you use headphones for the optimum experience). But what Pullinger has managed to do is take this even further, utilising the platform to its full potential – including Instagram posts that Flo makes throughout her day on a ‘genuine’ account on Instagram. You can follow jellybone_flossie in real life, complete with hashtags and all.

Jellybone Screenshot

Then comes the clincher: the ghost messages. Messages she has received ever since she was young but largely ignored until now. Now they’re from Lana, her best friend who went missing and was presumed murdered.

This sets the whole narrative in motion, pulling you in as you try to figure out what’s going on, as you attempt to decipher the garbled voice messages (that you can listen to too!) and texts that are being received. Your phone pings and buzzes as Flo’s does in the story; we never see the main character but we see through her eyes, we experience her emotions. Pullinger has created personalities for the characters largely through how they interact via messages, how they communicate.

And that’s what the story is all about, right? How we communicate with each other, with ourselves and in this case: with the dead.

The story has a set path from start to finish. It isn’t a text in which you as the reader have the choice of where to go or what to do, but rather it attempts to let you experience in ‘real time’ what the character you’re following does. It blurs the lines between the two, attempting to combine them for a fully interactive experience.

Although what makes this truly successful is the attention to detail: the loading dots at the bottom of the page, the crack on the characters’ screen becomes a crack on yours, voice messages that you can play and stop at will. It brings it all together to produce an excellent piece of interactive storytelling.

Oolipo is still quite young, yet it has the backing of authors such as Kate Pullinger, Matt Thorne and Karrie Fransman, and also invites anyone to use the software and become a creator. In the future, it would be excellent to see an offline feature introduced as now you have to be connected to the internet to access content. Jellybone has been by far one of the most intriguing, enjoyable experiences I have had regarding and reading interactive fiction.

I urge you all to give it a shot and maybe even start creating.

Review: Michael Lutz’s My Father’s Long, Long Legs

Review: Michael Lutz’s My Father’s Long, Long Legs

screenshot

My Father’s Long, Long Legs
by Michael Lutz
2013
Hypertext / Twine Game


Players of My Father’s Long, Long Legs will probably never find a piece of hypertext more aptly described by the phrase “digging yourself a hole”.

This twine game, from Michael Lutz’s site Correlated Contents, explores the topic of an absent father in a rather peculiar way. You play as the eldest child, nameless like the other characters, identified only by their relevant roles: Father, Mother, Brother, Brother’s Friend, etc. Then through clicking hyperlinks to reveal more text, you burrow deeper into how the family is affected once the protagonist’s father begins digging in the basement of their home.

As you play the game, you learn little about the protagonist but much about her family. The first ‘choice’ you’re presented with is an option to learn more about your brother, mother or yourself (although, the latter only provides extra insight on the protagonist’s family situation and gender, as she’s later referred to as “young lady”).

The choices themselves are less about what dialogue the player accesses and more about what order it’s accessed in. The previously mentioned “Brother”, “Mother” and “Yourself” options must all be viewed to advance, but you can view them in whatever order you like. Similarly, to progress through the game, the player must click the link in the current passage to reveal the next passage.

As each passage is revealed the webpage becomes longer, revealing a daunting wall of text to the player. It’s easy then to imagine that you’ve done some digging yourself, buried deep in this black background, going deeper the more you read. Towards the end of the game’s first phase, you’re asked to make a real choice in My Father’s Long, Long Legs, but even this only results in a small dialogue change.

Then in phase two things get a little more interesting.

I categorise phase two by the change in background and how you read the text. In phase one, all the text you’ve read so far is still visible. You can scroll up and return to the beginning of the story, although it’s impossible to make any changes to your choices without restarting the game. However, in phase two each choice you make takes you to a new screen. Some screens are even repeated depending on which options you pick.

Not to mention, everything is black besides a small circle you control via mouse. This allows you to read the text underneath the circle, simulating a torch held by the protagonist. There are also audio elements, the sound of digging, and the humming of Johnny Cash’s “You Are My Sunshine” right at the end.

The player is now faced with choices again, heading in certain directions or performing other actions, trying to navigate the protagonist through the basement. I’ve completed the game a few times yet I struggle to discern whether specific choices take you to the ending quicker or not.

At times, the unsettling sound of digging in the background seems to become more loud or quiet depending on the choices taken. Perhaps this signals the player to follow their ears to reach the end, much like The Forest Temple in The Legend of Zelda: Ocarina Of Time. Alternatively, it could be a certain number of choices that lead the player to the end, as they wander lost through the same few sets of decisions.

Overall, My Father’s Long, Long Legs is an engaging – and towards the end, frightening – piece of hypertext, lacking only in the branching paths so familiar to hypertext fiction. But despite the game only having one path, it’s a path well worth walking if you have twenty minutes to take in the scenery.