{"id":82288,"date":"2015-02-02T18:25:08","date_gmt":"2015-02-02T23:25:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=82288"},"modified":"2016-02-01T17:53:40","modified_gmt":"2016-02-01T22:53:40","slug":"a-question-without-an-answer","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/02\/a-question-without-an-answer\/","title":{"rendered":"A Question Without an Answer"},"content":{"rendered":"
\"2134828-amnesia\"<\/a>

The cover of Amnesia<\/i>.<\/p><\/div>\n

Tom Disch, who would\u2019ve celebrated his birthday today, is best known for his science fiction and his poems, some of<\/a> which were<\/a> first published<\/a> in The Paris Review<\/em>. But he also wrote, in 1986, a text-based video game called Thomas M. Disch\u2019s Amnesia<\/a><\/em>, which has become a kind of curio in the years since its publication\u2014an emblem of a brief time when gaming and experimental fiction shared similar agendas, and when \u201cinteractive novels\u201d seemed as if they might emerge as a popular art form.<\/p>\n

Amnesia<\/em> begins the only way such a project could: in a state of total confusion. \u201cYou wake up feeling wonderful,\u201d Disch writes,<\/p>\n

\n

But also, in some indefinable way, strange. Slowly, as you lie there on the cool bedspread, it dawns on you that you have absolutely no idea where you are. A hotel room, by the look of it. But with the curtains drawn, you don\u2019t know in what city, or even what country.<\/p>\n<\/blockquote>\n

<\/p>\n

\"241748-amnesia-commodore-64-screenshot-you-ve-got-amnesia-so-what\"<\/a><\/p>\n

From there, it\u2019s up to you (\u201cyou\u201d) to input the commands that will lead your character to safety, or at least to comparative epistemological certainty. The text is full of humor and horror. You will die (just like in real life), and you\u2019ll discover aspects of your character that raise more questions than they answer (ditto). Disch referred to the game as his \u201cU-Dun-It\u201d; Tobias Carroll, who revisited Amnesia<\/em> for Hazlitt<\/em> in 2013<\/a>, wrote that the game \u201cblends a Hitchcockian wrong-man scenario with the setting of a paranoid thriller from the mid-\u201970s, spiking it all with a somewhat satirical take on New York City in the mid-1980s.\u201d Amnesia <\/em>has gained renown for its comprehensive portrayal of New York. Quoth Wikipedia:<\/p>\n

\n

Disch\u2019s model covered every block and street corner south of 110th Street. A hard-copy map of the streets and subways of Manhattan was included in the packaging. Players moved from place to place on foot, and had to reach destinations at the correct time of day to initiate plot developments. Stores opened and closed at the correct times, street lights went on, and other aspects of New York life were simulated. Almost 4000 separate Manhattan locations, including 650 streets, were part of the game.<\/p>\n<\/blockquote>\n

It\u2019s difficult to get the game to function on newer machines, but no matter\u2014a few years ago, someone published the entirety of Disch\u2019s \u201cscript,\u201d<\/a> which runs to more than four hundred pages and had to be substantially trimmed to accommodate the diskette technology of the mideighties. And it\u2019s as a document that Amnesia<\/em> is especially compelling: it\u2019s essentially a novel written in the second person, spliced with a pseudo-code<\/a> with aspects of programming meets Choose Your Own Adventure. It\u2019s fascinating to see Disch contend with the more schematic elements of \u201cinteractive\u201d storytelling\u2014how he manages the many junctions, nodes, and decision-making trees, how he keeps track of where his character has been and where he might go.<\/p>\n

In its structure, parts of it anticipate the hypertext movement of the nineties or more modern experiments in metafiction\u2014think of David Foster Wallace\u2019s \u201cAdult World,\u201d the second half of which is written as an outline.<\/p>\n

Here, to give you a taste, is a nightmare set in a deranged, Macy\u2019s-esque department store called Oldman\u2019s, on Thirty-Fourth Street:<\/p>\n

\n
\n
\n
\n

[IF response to 8> is anything but GO TO\/ TAKE\/ RIDE ESCALATOR, the text for 7A is repeated\u2014on this floor and for the rest of way up to the 13th floor.]<\/p>\n

You take the escalator to the second floor, where four female mannikins have been grouped in a tableau representing an outing to the beach. Each of the mannikins has lifted her plaster hand to point to the upward-bound escalator.<\/p>\n

[If, repeats conditions set forth after 8>.]<\/p>\n

You take the escalator to the third floor, which is devoted to displays of men\u2019s fashions. On the counter just before you a single leather glove on sale for $12.95 points to the Up escalator. Informs you that the Les Delices has been closed for renovation. Another placard shows a hand pointing, with no explanation toward the escalator.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n

\n

You take the escalator to the fifth floor, where a white-haired salesman stands daydreaming behind a counter displaying all kinds of cutlery. \u201cCould I interest you in a knife, Sir?\u201d he asks wistfully.<\/p>\n

[If response to 12> is YES or BUY KNIFE:]<\/p>\n

12A. \u201cVery good, Sir. This\u2014\u201d He holds a a knife with an 8-inch stainless steel blade to your throat. \u201c\u2014is our very best all-purpose carving knife. And this\u2014\u201d The carving knife drops from his hand, and he takes another, smaller kife from the counter. \u201cThis is a superb knife for boning chicken.\u201d He\u00a0lunges at you with the knife, which makes a long gash in the sleeve of your white coat\u2014but does no more significant harm.<\/p>\n

[If response to 12> is NO:]<\/p>\n

12B. \u201cNo? You won\u2019t even look at my knives?\u201d The white-haired salesman sighs. \u201cI don\u2019t know why I waste my time. All these years, and all these knives, and never once … never once …\u2009\u201d He picks up the largest of the knives from the counter and, with a really remarkable steadiness of purpose, slowly positions it over the left-hand breast pocket of his suit and commits suicide. \u201cI\u2019m sorry,\u201d he says, with his last dying breath. \u201cI tried to be a good salesman. I did … my level … best.\u201d<\/p>\n

[The only effective response to 12A> or 12B> and another possible response to 12>, is TAKE ESCALATOR \u2026\u2009]<\/p>\n<\/blockquote>\n

The entire script is available as a PDF here<\/a>.<\/p>\n

\n

Dan Piepenbring is the web editor of\u00a0<\/em>The Paris Review.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Tom Disch, who would\u2019ve celebrated his birthday today, is best known for his science fiction and his poems, some of which were first published in The Paris Review. But he also wrote, in 1986, a text-based video game called Thomas M. Disch\u2019s Amnesia, which has become a kind of curio in the years since its […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[15070],"tags":[15219,12876,13828,16866,3771,7876,125,14000,13720,9136,16865,494],"class_list":["post-82288","post","type-post","status-publish","format-standard","hentry","category-on-games","tag-amnesia","tag-choose-your-own-adventure","tag-experimental-fiction","tag-hypertext","tag-macys","tag-metafiction","tag-new-york-city","tag-nightmares","tag-text","tag-thomas-disch","tag-tom-disch","tag-video-games"],"acf":[],"yoast_head":"\nA Question Without an Answer by Dan Piepenbring<\/title>\n<meta name=\"description\" content=\"February 2, 2015 \u2013 Tom Disch, who would\u2019ve celebrated his birthday today, is best known for his science fiction and his poems, some of which were first published in 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