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Do You Think You're Part of This? Digital Texts and the Second Person Address
This essay examines the use of the second person address in electronic literature and games. It discusses the way in which the direct address to the user has been used as a literary device, and how the "forced performative" that the reader is cast into when reading some such addresses is heightened in digital works, where the role of "you" is more literally enacted and regimented.
Jill Walker Rettberg - 26.02.2011 - 22:03
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Wittgenstein, Genette, and the Reader's Narrative in Hypertext
Wittgenstein, Genette, and the Reader's Narrative in Hypertext
Patricia Tomaszek - 25.03.2012 - 13:48
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Ontological Boundaries and Methodological Leaps: The Importance of Possible Worlds Theory for Hypertext Fiction (and Beyond)
This essay sets out an ontologically centered approach to Storyspace hypertext fiction by applying Ryan’s (1991) model of Possible Worlds Theory to two canonical texts [...] Shelley Jackson’s Patchwork Girl (1995) and Stuart Moulthrop’s Victory Garden (1991). The analyses show how the Possible Worlds Theory method allows the study of hypertext fiction to move away from the chronological focus of traditional narrative theory to address the ontological mechanics of hypertext narratives. The chapter closes by suggesting ways in which Possible Worlds Theory might also be used as an analytical tool for other forms of digital literature.
(Source: author's abstract.)
Eric Dean Rasmussen - 08.04.2012 - 09:17
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Curveship: An Interactive Fiction System for Narrative Variation
A report on the interactive-fiction system Curveship, which was designed to provide users a means of generating narrative variation.
Eric Dean Rasmussen - 08.04.2012 - 09:25
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Introduction [to New Narratives: Stories and Storytelling in the Digital Age]
Editors' introduction to a collection of essays on digital narratology.
Eric Dean Rasmussen - 10.05.2012 - 13:26
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Event-Sequences, Plots and Narration in Computer Games
Opening with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games that has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and the sequence of events understood as a plot, that is as a sequence of (chronologically) ordered and causally linked events. This kind of narrative is quite remote from the proto- typical narrative serving as a source for most narratological considerations. All media and not only computer games therefore actually need their own narratology.
Source: author's abstract
Kristine Turøy - 06.09.2012 - 18:55
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Genre Trouble: Narrativism and the Art of Simulation
Currently in game and digital culture studies, a controversy rages over the relevance of narratology for game aesthetics. One side argues that computer games are media for telling stories, while the opposing side claims that stories and games are different structures that are in effect doing opposite things. One crucial aspect of this debate is whether games can be said to be "texts," and thereby subject to a textual-hermeneutic approach. Here we find the political question of genre at play: the fight over the games' generic categorization is a fight for academic influence over what is perhaps the dominant contemporary form of cultural expression. After forty years of fairly quiet evolution, the cultural genre of computer games is finally recognized as a large-scale social and aesthetic phenomenon to be taken seriously. In the last few years, games have gone from media non grata to a recognized field of great scholarly potential, a place for academic expansion and recognition.
Scott Rettberg - 09.07.2013 - 00:24
