This page provides a broad perspective on the current and future process of the concepts of Tau Station. This conceptual analysis is planned to go through six stages:

  • stage 1 (current stage)blind inclusion of concepts from the missions' storyline;
  • stage 2 – inclusion of concepts from in-game CORETECHS' Archive information, even if isolated;
  • stage 3 – inclusion of concepts from in-game descriptions of Systems, Stations, Areas and NPC, even if isolated;
  • stage 4 – inclusion of concepts from in-game Items, even if isolated;
  • stage 5 – inclusion of concepts from Tau Station Blog, even if isolated;
  • stage 6 – inclusion of concepts related to the linguistic origins of Tau Station names (game, systems, stations, areas, characters, and items).

Stage 1

Mission (Previous name) Processed Included in Tau Station Notebook Included in Tau Station Wiki
Fighting off the Pod Fog (Ruins to Riches) Yes Yes Yes
CORETECHS Calibrations Yes Yes Yes
Ready Player Everyone Yes Yes Yes
Secrets and Servos (My Only Hope) Yes Yes Yes
A Rude Awakening (Fashion Victim) Yes Yes Yes
X Marks Our Shot Processing No No

The conceptual process

A brief introduction about the conceptual process is provided as to make the end result as much enjoyable as possible (always feel free to contact regarding suggestions for improvement).

The core

A concept is an entity that has significant meaning to the narrative. As missions are played, all concepts are listed and their connections are established. As the content of this Tau Station Notebook is included in the Tau Station Wiki, every concept has a respective individual webpage – just the root URL is different. Inevitably, a significantly part of this concepts are already listed as, for example, Stations, Areas, NPC or Items. For other concepts, a webpage is created and they are tagged as mentions, irrespective to their category. Therefore, a concept webpage is only hyperlinked to direct and relevant webpages, and if a mentioned concept has a page then it's always hyperlinked – and so concepts and their connections are the core of the conceptual map.

Spatial distribution and size

The spatial position and size of the concepts represent different characteristics, but the end result is intertwined. The baseline idea of the calculation is that concepts that have more connections are more attracted, less related ones are repulsed, and more important concepts for the narrative network are more central and bigger.
With further details: connections between concepts are directed (meaning that the direction of the influence is relevant), unweightened (all connections have the same importance), unduplicated (every connection just counts once), and are according to Eigenvector Centrality (a measure of a concept importance in a network based on a concept's connections).

The colours

Colours are tags used to represent categories and to aid visual analysis. The specific colours, and maybe even categories, will be progressively tweaked depending on how the analysis unfolds. Currently they are as follows:

  • affiliation – related to the four affiliations, as in coretechs/archive/affiliations;
  • area – an in-game Area found under /area/;
  • character – a temporary NPC that have a specific game page (such as mission's NPC);
  • corporation – in-game companies, as in coretechs/archive/corporations;
  • item – items that have a specific game page under /item/;
  • mention – generic tag for every other character, item, or other, without a specific game page (but with a generated individual webpage under the Notebook and Wiki);
  • mission – an in-game Mission as in /mission/;
  • NPC – a non-temporary character that is always at a given Area, under the People tab, and with a specific game page;
  • station – an in-game Station, as in /coretechs/archive/travel/;
  • vendor – in-game Vendor under the Market Area.

What to look for at the map

Several viewpoints can be taken (not be considered exclusive or exhaustive) to help further narrative analysis:

  • regions – what general regions can be seen; what concepts are in every region; how far and close apart are regions; what opposing regions can be seen;
  • concentration – how dense is a region; and how spread are the concepts that are related;
  • connectors – what concepts serve as bridges between concepts and regions; what are the links between opposing regions; which concepts open up a new set of content;
  • distribution – what concepts are in the centre of the storyline; and which ones are just peripheral;
  • ratio – what are the categories of the most used concepts; what is the storyline mostly bringing to the plot.

Some caveats and limitations

Some details need to be mentioned:

  • a conceptual map is meant to add a different viewpoint to an already known narrative. Mathematical analysis can result in very different results, and none might account for the complexity of a qualitative narrative plot;
  • it can be argued that a Mission is not a concept for the storyline (like a title isn't to a story), as obviously every concept from that mission are connected by it. Their inclusion was done because 1) they help to position a mission in the overall storyline and regions of the map, 2) if filtered the conceptual map doesn't lose its overall shape, and 3) they may serve as temporary visual support until all missions are processed;
  • the fact that all connections have the same weight doesn't correspond to the real effects in the narrative. But if that was to be considered, maintaining consistency through the quantification of all connections might be impossible to achieve. However, the importance of a concept towards another is not only direct. Indirect connections, specially several and short (e.g., as through the Mission, mentioned above), are accounted for the attraction between concepts.


Hopefully this will contribute to enrich the experience in this post-Catastrophe world.

Unless otherwise stated, the content of this page is licensed under Creative Commons Attribution-ShareAlike 3.0 License