BKHAMHOL.RVW   980807

"Hamlet on the Holodeck", Janet H. Murray, 1997, 0-262-63187-3,
U$15.00
%A   Janet H. Murray
%C   55 Hayward Street, Cambridge, MA   02142-1399
%D   1997
%G   0-262-63187-3
%I   MIT Press
%O   U$15.00 800-356-0343 fax: 617-625-6660 www-mitpress.mit.edu
%P   324 p.
%T   "Hamlet on the Holodeck: The Future of Narrative in Cyberspace"

Actually, I find it very hard to say what this book is about. 
According to the subtitle, and the promotional material, the intent is
to look at narrative; storytelling, literature, or "plotted"
entertainment; and the new forms that may become available as new
technology enables it.  On the other hand, there seems to be a lot of
"gee whiz" gasping at technology for its own sake in the book itself,
and relatively little analysis of what new forms may arise.

Part one introduces the concept of a change in narrative style and
structure with the advent of the computer.  Chapter one reviews a
number of disparate accounts of "digital" literature, both positive
and negative.  However, it is notable that almost all of the
literatures presented are, themselves, fiction.  While Bradbury and
Huxley are sterling authors, and the Star Trek spin-offs immensely
popular, and while the opinions presented in those works raise
questions to be discussed, it is hard to see how stories will tell us
the real future of stories.  Precursors to a final "holodeck"
narrative environment are examined in chapter two.  The technologies
mentioned are all existing and working, but it is somewhat jarring to
have aspects of plotting that have developed from storytelling to
novels to movies to MUDs juxtaposed with 3D films and virtual reality. 
The point of the development of story structure is also weakened when
you note how little it has changed through thousands of years and
several changes in technology.  A variety of new computer technologies
are explored in chapter three, but nothing seems to point to any
change in actual narration.  In addition, subtle errors in background
information about the systems examined made me wonder about the
author's technical knowledge.

Part two wishes to discuss the possible new aesthetics (literary
conventions) of a new computer aided literature.  Chapter four looks
at immersion, distance, and interactivity with new forms but does not
appear to draw conclusions.  The point of chapter five is difficult to
discern.  It talks about mazes, both physical and plotted, and also
about interactivity, and the ability of game players to "author" parts
of the story.  The significance of emotional involvement is also hard
to assess in chapter six.

Part three looks at the procedural aspects of narrative, examining
plot in chapter seven and character in chapter eight.  While these
provide interesting information on the generation of traditional
stories via programming, they don't say much about new forms. 
(Besides, we already know that a computer can knock off a "Danielle
Steele.")

Part four tries to predict the future.  Chapter nine posits a number
of new forms, not very different from those already seen, and not very
compelling in terms of the story "market."  Finally Murray assures us
in chapter ten that we will like the new literature, we really will.

Returning to the original image of the Star Trek style holodeck, given
the material that has been discussed, one wonders if the three
dimensional and virtual reality aspects of the device can actually
contribute to a narrative form, rather than being mere stylistic
additions.  After a moment's thought you realize that it *can* have an
effect.  If the user walks into a cocktail party and turns left, one
set of people is encountered: turning right introduces a different set
of characters into the experience.  If the user is belligerent the
individuals will react one way, if seductive, another.  Of course,
this massive database of potential experiences will require either a
huge staff or a single author making his magnum opus a life's work,
but that is merely an extension of the scale of movie making in the
current day.  Another of the fictional examples that Murray uses
involves live actors playing different parts, and, in one scenario,
has one character presented with the sleep of another as an
opportunity to access confidential information.  But what happens to
the real person whose character is "sleeping?"  Either the person
involved is forced out of the game/story rather abruptly, or the
character is thereafter being controlled by someone with more
information than should actually be the case.  These fairly simple
possibilities, however, are not examined in the book.  The analysis
that the volume does give us is unconvincing and very facile.

In chapter two, the historical perspective worked against the thesis
of development of radically new narrative forms.  The move from live
storytelling to written works allowed specific stories to be arranged
in a fixed comparison to each other.  The printing press reduced the
price of books to the point where a novel length work became
realistic.  Radio added sound effects to stories and reduced bridging
narrative in order to recite stories faster.  Movies allowed for rapid
scene changes.  But narrative has not changed in its essence.  Yes,
new computer aided entertainments are in their infancy.  But while
various computer, communications, and multimedia technologies may add
similar frills, the book fails to convince the reader that any really
new form of narrative will result.

copyright Robert M. Slade, 1998   BKHAMHOL.RVW   980807