Appendix - Bottom of the Box Solution
Interactive Personality Types Cross-Indexed with IF Structures


This is not completely worked out, it could take me years to do that, but I include it for those who might be interested.

"You left out the gastronomical category. I really only like games I can eat. I put a dab of strawberry jam on top, then drizzle on icing..." Den of Iniquity (phony quote)

IF Form Interactive Personality Type Who May DISLIKE Interactive Personality Type Who Probably LIKES
Inventory Linguistic / Auditory - Concentrating so much on the story they may forget to check their inventory at game start. Visual / Tactile / Deductive - Visual examines their appearance and, thus, their inventory. Tactile feels their pockets (or sack) to discover what the "lumps" are. Deductive double checks to "be prepared."
Searching
(which reveals new objects or information that Examine does not)
Linguistic - Unless the prose indicates an object is worthy of a more detailed examination or search, they can get annoyed. Same as above.
Humor Auditory - If a humorous "tone of voice" breaks the plot's mood, their immersion experience can be undermined, i.e., Mimesis can be broken. Most types.
Conversation Menus Auditory / Oral - Auditory needs to "hear" the sound of their own voice. Oral doesn't want author's words "shoved in their mouths." Linguistic - Finds completely fleshed out conversations more "real". Doesn't have a strong need to speak their own words.
One Room Games Kinesthetic - Needs the illusion of movement to get the impression the IF world has actual physical depth. Most other types - May be more interested in plot and/or puzzles.
Chapter Layout Auditory / Tactile / Kinesthetic - Auditory may be bothered by chapters divisions if they interrupt the story telling "voice." Tactile / Kinesthetic - May be bothered because chapter layout simulates the paper world, not the real. Linguistic / Auditory - Finds it a comfortably familiar plot device from static fiction.
Long Screens of Text Most types - Too much reading can remind players they are reading, thus impeding their immersion in a game world's simulation. Linguistic / Auditory - Depends how well the prose is written or the story is "told."
Puzzleless IF Kinesthetic / Tactile / Deductive / Inductive / Technical - Kinesthetic may find the story (game world), flat. Tactile, looking for real-life simulation, may not have enough objects to manipulate. Problem solvers have nothing to do and therefore can't see the point. They'd rather read. Linguistic / Auditory - Greatly depends on how well it is written. Linguistic - If the prose is very good to excellent, reading may be enough to engage them even with minimal other interactivity. Auditory - If the plot is interesting enough, may not miss other forms of interactivity.
Puzzles - Linguistic Most types other than Linguistic - Depends on the difficulty of the puzzles and whether they can be solved in logical/intuitive manner or rely too heavily on the linguistic approach. Some may find them too linguistic and too difficult. Linguistic - Right (left :-)) up their alley.
Puzzles - Mechanical Linguistic / Auditory / Deductive / Inductive - Depends on the complexity of the puzzles and whether object manipulation is the major factor. Some may find them too mechanical and too tedious. Most types - Picking things up, putting them in other things, opening / closing doors, etc. Simulation gives the IF world "reality".
Puzzles - Deductive / Inductive Linguistic / Auditory / ? -Depends on the difficulty of puzzles and whether the author has given enough clues about the way they process information so players can solve them by trying to process in a similar way. A minority are more interested in prose/plot and find almost all puzzles laborious interruptions. Most types - By engaging problem solving ability gives the appearance they can change the story and, thus, are an important participants.


Back to McLuhan.

One of the big flips that's taking place in our time is the changeover from the eye to the ear. And most of us, having grown up in the visual world, are now suddenly confronted with the problems of living in an acoustic world, which is in effect a world of simultaneous information. The visual world has very peculiar properties and the acoustic world has quite different properties. The visual world, which belongs to the old 19th century and which had been around for quite awhile, say from the 16th century anyway, the visual world has the properties of being sort of continuous and connected and homogeneous, all parts more or less alike and stayed put. If you had a point of view, that stayed put. The acoustic world, which is the electric world of simultaneity, has no continuity, no homogeneity, no connections, and no stasis. Everything is changing. So that's quite a big shift, I mean to move from one of those worlds to the other is a very big shift. It's the same shift that Alice in Wonderland made you know when she went through the looking glass. She moved out of the visual world and into the acoustic world when she went through the looking glass.

Now to explain a bit about the implications of this rather large shift. It concerns the whole problem of learning and teaching and social life and politics and entertainment and I'm going to try to tie it into some of those places. But first I will try to make it a little bit more meaningful about the how we became visual in the first place.

There is only one part of the world that ever did go visual, and that is the western Greco- Roman Hellenistic world and about 500 B.C., something happened which made it possible to flip out of the old acoustic world, which was the normal one of the tribal Greek society, the Homeric world. Something happened which flipped them out of the old Homeric world of the bards into this new rational, philosophically logical, connected, private, individualistic, civilized world. And that thing is called the phonetic alphabet. Now the origins of the phonetic alphabet are by no means clear at all. All we know is what it what it did to people. The phonetic alphabet has a very peculiar set of characteristics which are not shared by any other alphabet on this planet. The phonetic alphabet, the one that you all call the ABCs, has a very peculiar structure. It is made up of phonemes, that is bits that are meaningless. The 26 letters of our alphabet have no meaning at all. Now they're called phonemes because that, in linguistic terms, means the smallest possible meaningless bit. Now all the other alphabets in the world, the Hebrew and the Arabic and the Hindu, the Chinese and so on, all of those alphabets are morphemic. The bits they are made of have meaning. Some meaning, however small. Now one of the peculiar things that happened with the phonetic alphabet was that the people who used it underwent a kind of fission. Their sensory life exploded and the visual part of it was cut off from the kinetic, acoustic and tactile parts. In all the other parts of the world where writing is employed, the visual life has always remained associated with the acoustic life and the tactile life and the kinetic life. The Chinese ideogram is a wonderful instrument of unified sensations. It is so richly unified that most people in our 20th century have begun to study it very carefully as a corrective to our highly specialized alphabet. One of the results of the use of the phonetic alphabet was that Euclid could indicate the properties of visual space in his geometry. Visual space, unlike any other of the sensory stasis, visual stasis (?) is pretty well taken care of by Euclid, who explored most of its dimensions. You've heard of non-Euclidian geometries. Well, in the electric age, the non-Euclidian geometries have come back and Euclid has been put aside. But with the arrival of Euclid and visual space, you got a very strange possibility which Plato seized upon and Plato developed his highly systematized philosophy, even more systematized later by Aristotle, his philosophy of the ideas and the idea of rational control of the passions and of the world of nature. ...

So it's helpful to know the origins of the alphabet and of civilization and rationality in that sense because we have come, in the 20th century, to the end of that road. And it's a considerable revolution to have been through 2500 years of phonetic literacy, only to encounter the end of the road. Right now, people in this room are making the decision whether or not we're going to have any more literacy or any more civilization in the 20th century, or whether it's going to stop right here. ...

In the electric world, the simultaneity of information is acoustic in the form that it comes from all directions at once. You hear it from all directions at once. Electric information comes from all directions at once and when information comes from all directions simultaneously, you are living in an acoustic world. It doesn't matter whether you're listening or not, the fact is you're getting this acoustic pattern.

Marshall McLuhan, Lecture at Florida State University, 1970


This lecture came from a web page. A question mark inserted after the word space means the transcriber of the speech wasn't sure what they heard (originally stasis, it was probably space).

If you aren't sure what you've read, I am not sure I can clarify my theory anymore than this paper already does, but email me at: doeadeer3@aol.com.

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