For example, it is often difficult to transpose a work of printed literature into film due to the restriction of film to verbal and visual communication and the necessary omission of characters' thoughts. A producer must, in a sense, think within the restraints of film, that is, to form thoughts and devise scenarios and characters that can be adequately represented within the medium of film. Therefore, in order to accurately represent an idea in its purest form, the medium must be closest in essence and organization to the thought process itself. A major advantage to Hypertext, and more specifically Storyspace, is its similarity in form to the human thought process. The format of Storyspace is laid out in webs of ideas, nodes, connected by links that delineate the relationship between nodes, much like how the human brain groups ideas and stimuli together to form thoughts and memories.
Every medium poses some restraint on the user of that media.
An artist wishing to draw a still life using charcoal and paper prevents himself from the portrayal of any colors other than black, white, and shades of gray. Likewise, when this same artist chooses to do the same still life using color, the quality of the depiction of light and shadows is often compromised. Joseph Heller's Catch 22 employs the use of several short stories told from the perspective of an outsider focused on different characters in each story to convey the overall plot. Hypertext pieces employ similar unconventional means to tell whatever story the author intends. Through my experiences in writing in Storyspace, I have found it much easier to convey associative, fragmentary ideas than in traditional print text.