<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"><HTML DIR=ltr><HEAD><META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=iso-8859-1"></HEAD><BODY><DIV><FONT face='Arial' color=#000000 size=2>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>The Story Web</FONT></SPAN></P>
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prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p><FONT
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<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>I’ve been thinking about the issue of computer game
narrative, which currently seems at odds with the interactive character of
games, their prodigious technical achievements, and the freedoms granted the
player in such realms as movement and tactics.</FONT></SPAN></P>
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face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Computer games are held back from greater narrative
complexity by the problem of proliferating plot lines. If you allow the gamer a
genuine narrative choice at some point in the game, one which will affect what
follows, you must work out and write the different scenarios that follow. The
more genuine choices are added, the greater the labour involved. The number of
potential plot lines quickly outruns the capacity of any team of writers. So it
is that most computer games are written as if they were film scripts, in a
procedure which is deeply at odds with their interactive
character.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Most games respond to the problem by allowing the player to
proceed to the next stage of the plot by selecting a single right choice from
the range of possibilities, and punishing other choices by the death of the
player’s character or another form of dead-end. Another tactic is to provide
sub-plots that branch off the main story line but do not fundamentally affect
it; the main choice offered the player is whether or not to bother playing them.
</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Another strategy, which may be combined with autonomous
sub-plots, is to join up some of the plot lines, so that different choices do
not bring players to separate game areas but rather alter the order in which
those game areas are seen. The effect here is to give a degree of narrative
choice by shuffling the order of a relatively small number of episodes or access
to particular game areas. It has been used in both the <I
style="mso-bidi-font-style: normal">Deus Ex </I>games, which also offered a
choice of morally ambivalent endings, that luxury being on offer, of course,
because each ending led only to the playing of an appropriate cut scene, and not
to the continuation of separate story lines. Nevertheless, this structure does
something to mitigate the basic problem: more choices can be offered, death need
not be the consequence of less than optimum decisions, and moral complexity and
ambiguity are easier to introduce. The disadvantage of this structure (which can
only be overcome, once again, with a good deal of labour by writers) is that if
the order of the game’s episodes is shuffled, the game may appear deficient in
memory of its own plot. For example, a character in an episode may be expected
to treat the player very differently depending on how they arrived at a
particular point in the narrative, but for that to happen the player’s track to
each episode must be accounted for, and this to an extent reproduces the problem
of proliferating plot lines. Characters in <I
style="mso-bidi-font-style: normal">Deus Ex</I> may seem remarkably forgiving of
a player who has fought against them earlier in the game, for
example.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Players, then, are generally denied a sequence of
meaningful narrative choices in games, and this fundamentally affects the
experience of the game in terms of its potential subtlety, maturity,
sophistication, and in the ethics implied by its narrative. The choices offered
to players are generally stark, and the consequences of their actions simple and
unambiguous. This may be part of what confines enthusiasm for computer games to
particular segments of the population, and it certainly contributes to the
widespread cultural contempt in which games are still held.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>The basic proposal to solve this problem is a very simple
one: to harness the energies of the online gaming communities (who already
supplement games with a vast production of new game artefacts including weapons
and clothing, characters, rules and standalone scenarios and plots) to write
stories that will be integrated into the main plot. If you have thousands of
writers at your disposal, proliferating plot lines are no longer a problem but
an opportunity. At the moment, when these enthusiasts (modders) add new plot
lines, these are as autonomous sub-plots to the main game, which may
symptomatically ensure they do not interfere with the main plot line by
confining themselves to an island off the shore of the main player area, for
example. Most game companies have welcomed the contributions of modders, opening
up their games to such creative energies, because they greatly extend the market
life of their games.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>The idea of the Story Web, then, is to create an Open
Source program which would provide a framework to integrate the efforts of these
communities into the main plot line of a game, allowing for the creation of new
narrative lines, and offering players numerous significant narrative
choices.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>The advancing of a plot in computer games is achieved
through various simple means, which can be placed into three broad categories:
movement, tasks, player abilities and the behaviour of non-player characters
(NPCs). Saved games log the states of these variables. The basic movement of
objects and characters is quite simple to manage, and the collective labour of
game enthusiasts could greatly augment the narrative richness of
games.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>The Story Web should work as a collaborative project, and
while much could be achieved through online communication, there may be
advantages to setting up a small team of writers and programmers to work on a
pilot project with a particular game. It makes sense to choose a game for which
there is a strong pre-existing community of modders, and also one for which plot
is already an important element. An RPG such as <I
style="mso-bidi-font-style: normal">Oblivion</I> may be a good
choice.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Let’s take an example of a plot line from that game to get
an idea of the possibilities. In <I
style="mso-bidi-font-style: normal">Oblivion</I>, the player is asked by a
collector to steal an ancient crown from a house in the same town. The player
can do so, or if s/he talks to the owner of the crown, is given the option of
collecting a similar crown from a ruin, and warned of the dangers of giving the
collector what he wants. When either crown is taken to the collector, the player
asked to accompany him to a throne room in a ruin. Once there, if the original
crown has been given to the collector, he crowns himself king and summons
spirits to despatch the player (who is offered a typical choice of fight, flee
or die). If the other crown has been given to the collector, he is electrocuted
in his throne but similarly spirits appear to attack the player. This is the end
of this plot line, and the player has no option even to talk to the owner of the
crown about the events that have occurred.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>It is easy to see that there are many new story and
dialogue options that could be added here: at the very least, the player should
be able to talk to the owner of the original crown; this could open a plot line
in which the player could use the original crown in the throne room; it may be
that the ancient sprits could be negotiated with rather than be implacable
opponents; many branching story lines could be written that link back to and
affect the main plot of the game or its very numerous (and autonomous)
sub-plots.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3></FONT></SPAN> </P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>The advantage of the Story Web is that many writers can
‘fill’ the proliferating branches of narratives without active collaboration,
building on options to existing narratives, and initiating new ones. The system
offers a flexibility rarely seen in computer games: characters from a sub-plot
are usually confined there, and the ‘bad’ ones generally meet their deaths there
if the player is successful. Characters that are found attractive in a modding
community may reappear often in many story lines.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>There are two kinds of difficulty in this project, and both
are connected to the fact that game enthusiasts cluster about already existing
games with a pre-established story line: they are disruption and incompleteness.
New narrative elements should not prevent the main game from functioning (for
instance, by killing off essential characters before they fulfil their role in
the plot, or at least should not do so without the cognisance of the player),
and new plot lines should not leave the player ‘hanging’ at the end of an
incomplete story.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Naturally, one of the consequences of the use of this
system is that narrative branches can be added at any point in the game, and
that they may well be added to narratives that are (in the minds of their
authors, at least) complete. So the system may offer a challenge to the notion
of completing a story, and this may be one of its most important contributions
in introducing maturity to computer games. </FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Even so, both problems remain:</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
size=3><FONT face=Garamond><SPAN
style="mso-tab-count: 1">
</SPAN>Many players will not want to play ‘incomplete’
stories</FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
size=3><FONT face=Garamond><SPAN
style="mso-tab-count: 1">
</SPAN>Most players will want the option of completing the designer’s
game</FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Both problems may be addressed with a ‘traffic light’
system, signalling paths in normal game-play (this is an option that gamers
could turn on or off). In most RPGs, narrative decisions are taken through the
dialogue options, so introducing such a system would simply be a matter of
changing the colour of the writing. So:</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
size=3><FONT face=Garamond><SPAN
style="mso-tab-count: 1">
</SPAN>Green: the designer’s narrative or autonomous sub-plot that leaves it
unaffected</FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
size=3><FONT face=Garamond><SPAN
style="mso-tab-count: 1">
</SPAN>Amber: a complete narrative but a diversion from the original
plot</FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
size=3><FONT face=Garamond><SPAN
style="mso-tab-count: 1">
</SPAN>Red: incomplete narrative</FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>(There are accessibility issues here for the colour-blind
but it is the principle of the system rather than its detailed implementation
that is of importance for now.) Writers would signal when they considered a
story to be complete; others adding stories to a complete one, would be obliged
to signal it as new.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>This system would allow the player some guidance through
the branches of the story structure without actually seeing it in the game. Of
course, the structure would be open to direct examination by all players. The
automatic savegame system would be modified to save at every narrative branch;
that, combined with a view of the narrative structure, would permit all choices
to be revocable. Players could thus explore many narrative tracks without losing
track of the game makers’ plot. This solution also addresses the problem of
unevenness of writing; in a collectively assembled narrative, there are bound to
be more or less committed and able writers, so players need the option of moving
back from a narrative line that they simply dislike.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>The Story Web could work both with single-person games
(where probably, for reasons of simplicity, a pilot should be attempted) and the
introduced plot elements of persistent multi-player online games. Given that it
would be subject to continuous modification, it would require either a
continuous connection to the Internet, or perhaps a ‘Steam’-like updating system
of the kind used by Valve for <I style="mso-bidi-font-style: normal">Half
Life</I> <I style="mso-bidi-font-style: normal">2 </I>and their other games.
</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>If the plot lines of a successful Story Web are by
definition too many and various to be written by a single individual, they may
also be too many to read. Story lines would not only branch off from
pre-existing lines but would also frequently reconnect with them (as in the <I
style="mso-bidi-font-style: normal">Deux Ex</I> model above but with many more
options and not necessarily ending with a single scenario). This would be one
way of completing a narrative line, turning its ‘traffic light’ from red to
amber, and it would also allow, through linking back to the designer’s plot
line, a greater number of conservatively inclined players to try out added
stories.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Reconnecting with other lines raises the problem of
inconsistencies between stories. Games already manage the position, disposition
and health of characters, the position of objects, locked and unlocked
locations, the completion of tasks and a host of other variables. The Story Web
would have to make this information available to writers as formal and tabulated
data, as modders currently view it. Authors should also write brief plot
summaries of their contributions, so that new contributors could get a rapid
overview of a particular set of plots, and know whether and where they would
like to add their own material. This would obviate at least some of the need to
play through a plot line, or read back through it, before deciding to
contribute. Writers who bothered to pen such overviews would be rewarded by the
greater likelihood of having their stories added to and embellished by others,
rather than dead-ending.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Authors can be expected to review a story, think about what
it is plausible that its characters should do, and how it should develop. Yet in
reconnecting it with others, they cannot be expected to manually review the very
large number of variables between the two lines so as to spot discrepancies. So
the programme must alert writers to inconsistencies, and forbid the joining of
inconsistent lines. It should also be able to report to a writer all narrative
lines that are consistent with the story in question, and those with relatively
few inconsistencies. Those with only a few could be joined to by writing
intermediate scenes in which, for example, a dead character is resurrected, two
hostile characters come to an understanding, or an object is restored to its
original location.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>As for editing rights, there are various models to consider
here, and their viability should be tested by experiment, a task for a
pilot.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><I
style="mso-bidi-font-style: normal"><SPAN lang=EN-GB><FONT size=3><FONT
face=Garamond>1. Mediated/ authoritarian<o:p></o:p></FONT></FONT></SPAN></I></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>A central authority vets new plot strands and decides on
their suitability according to set criteria, probably sympathetic to those of
the game designers. The main advantage is the ability to set standards, blocking
bad writing and attempts at vandalism. The (large) disadvantage is that such a
system would be unwieldy, slow and very expensive in
labour-time.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><I
style="mso-bidi-font-style: normal"><SPAN lang=EN-GB><FONT size=3><FONT
face=Garamond>2. New lines allowed/ old lines stay in
place<o:p></o:p></FONT></FONT></SPAN></I></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>One a plot line is established, it stays as it is unless
re-edited by its author. Anyone can add new branches as they like. The main
advantage is that acts of vandalism and over-competitiveness between authors are
limited. The disadvantage is that plot lines and dialogue of poor quality will
tend to remain in place.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><I
style="mso-bidi-font-style: normal"><SPAN lang=EN-GB><FONT size=3><FONT
face=Garamond>3. Wikipedia<o:p></o:p></FONT></FONT></SPAN></I></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Anyone can edit anything, the system being reliant on a
core of enthusiasts who police it against vandalism and poor quality (as happens
currently with Wikipedias). The hope would be that in an active community the
collective effort would be to improve matters, so that clumsy dialogue would be
re-edited to improve it, implausible plot lines rewritten, and popular,
well-regarded narratives left alone. (Presumably game companies would insist
that their pre-existing narrative be immune from editing.) The disadvantage is
that this hope relies on the health of the game community, which would have to
swiftly remove vandalism; also that there could emerge competition amongst
writers who do not only improve their own work, but unnecessarily overwrite that
of others.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>I would be happy if option 3 did prove viable, but it may
well be that different solutions are appropriate for different games and their
enthusiasts.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>Finally, to test the viability of the Story Web, in a pilot
a single game could be selected as described above, and a team of programmers
and writers could work towards producing a working beta model for the online
gaming community. The final objective, however, would be to produce an Open
Source programme (again improved and modified by enthusiasts) to which game
designers will tailor their products, opening their narratives to all the
complexity, richness and unpredictability that the online world can
offer.</FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><FONT
face=Garamond size=3>You can find another version of these thoughts, with some
diagrams and more technical details here: </FONT></SPAN><SPAN lang=EN-GB
style="FONT-SIZE: 10pt; FONT-FAMILY: 'Courier New'"><A
href="https://webmail.courtauld.ac.uk/exchweb/bin/redir.asp?URL=http://molodiez.org/stallabrass.pdf"
target=_blank>http://molodiez.org/stallabrass.pdf</A></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB><o:p><FONT
face=Garamond size=3> </FONT></o:p></SPAN></P></FONT></DIV><br><br>
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