Internet Hyperfiction: Can it ever Become a Widely Popular Artform?
Since 1982 multilinear and interactive literature has been written in the hypertext media. Until now the authors have been obsessed with traditional literary conventions, which has often made the hypertexts seem rather academic and pretentious. But that may change. During the last five years a new breed of writers have discovered the possibilities on the Internet. They address a wider audience than lecturers and very enthusiastic bibliophiles, in a form that finds a more popular balance between traditional storytelling virtues and the more avant-garde elements. This new tendency can be observed in hyperfictions like The Unknown and on the following pages I will establish how and why it should be possible to make hyperliterature more popular than it is at the present, if writers are willing to move a little further towards the more lay readers. As an example of how this could be happening the conclusion will list what seems to be the main reasons why The Unknown to a higher degree seems to succeed when it comes to capturing the reader without losing any of the experimental edge that is still a part of hypertext due to its modest age.
(Source: Thesis abstract)
Works referenced:
Title | Author | Year |
---|---|---|
Victory Garden | Stuart Moulthrop | 1991 |
Twelve Blue | Michael Joyce | 1996 |
The Unknown | William Gillespie, Scott Rettberg, Dirk Stratton, Frank Marquardt | 1999 |
Sunshine '69 | Robert Arellano | 1996 |
Samplers: Nine Vicious Little Hypertexts | Deena Larsen | 1997 |
Patchwork Girl | Shelley Jackson | 1995 |
l0ve0ne | Judy Malloy | 1994 |
Hegirascope | Stuart Moulthrop | 1995 |
Forward Anywhere | Judy Malloy, Cathy Marshall | 1995 |
Ferris Wheels | Deena Larsen | 1999 |
Charmin' Cleary | Edward Falco | 1999 |
afternoon, a story | Michael Joyce | 1990 |
253 | Geoff Ryman | 1996 |