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What is TriadCity?

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TriadCity is an advanced, text-based virtual world with a literary orientation, currently in beta.

Where many games focus on "kill the monster" style adventuring, TriadCity explores themes which have been central to Western culture: good and evil, city and country, nature and civilization, personal and collective identities, violence and nonviolence, freedom and slavery.

Text-based means that you read and type to play TriadCity. It's not a 3-D graphical environment such as World of Warcraft or Second Life. We find the cartoonishness of those experiences off-putting. For us, our own ability to form excellent pictures in imagination is far more fulfilling. Many people agree: TriadCity attracts many refugees from these cartoon worlds.

Literary orientation means that narrative techniques from the novel and other traditions are incorporated. For example, various forms of player subjectivity are imposed, some relative, some radical. This means that character histories and views of the world are potentially unique to each individual. We know of no other "game" where this has ever been done. TriadCity's literary merits have been widely cited, including The Cambridge Companion to Postmodernism, which highlights TriadCity as its culminating example of literary Postmodernism.

Beta means the game is very stable, quite large, and profoundly not-yet-done. The world is just beginning to be fleshed out enough to enable players to see how it all fits together. Look for the game world and available player experiences to greatly expand as we near Version 1.0.

We're proud to stress that TriadCity is female-friendly. There are more active women than men players. Four of the top five players are women.

Wikipedia's excellent TriadCity article: here.

We'd love to have you join us! If you're not already a member, click here to join SmartMonsters. Meet you in the City!

 
 
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"Burroughs's zone, or interzone, is a vast, ramshackle structure in which all the world's architectural styles are are fused and all its races and cultures mingle .... Sometimes it is located in Latin America or North Africa, sometimes (as in The Ticket That Exploded, 1962) on another planet, sometimes (as in Cities of the Red Night,, 1981) in a lost civilization of the distant past. By contrast, Alasdair Gray's zone (in Lanark, 1981), a space of paradox modeled on the Wonderland and Looking-glass worlds of the Alice books, has been displaced to the ambiguous no man's land between cities .... Pynchon's zone is paradignmatic for the heterotopian space of postmodernist writing .... Here ... a large number of fragmentary possible worlds coexist in an impossible space which is associated with occupied Germany, but which is in fact located nowhere but in the written text itself."
--Brian McHale,
Postmodernist Fiction (info)

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