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Process-Intensive Fiction
Unlike digital poetry, which has pursued process-intensive directions throughout its history, the dominant directions of digital fiction make relatively light use of computational processes. Whether one looks at the traditions of hypertext fiction, interactive fiction, or video games, the primary model is a set of connections (traveled in different manners) between largely static chunks of language. This panel explores a set of alternatives to this model. The suggested potential panelists include the author of the first book on this topic, published in 2009 (Wardrip-Fruin); one of the authors of Facade, the first fully realized interactive drama (Mateas); the creator of Curveship, a new interactive fiction tool that introduces discourse-level variation as a first-class parameter (Montfort); a prominent author, commentator, and tool builder (Short); the author of Blue Lacunae, a vast, highly variable interactive fiction (Reed); the creator of new algorithms for literary variability based on conceptual blending (Harrell); and the author of the mainstream game industry's most ambitious project in this space, Far Cry 2 (Redding).
Audun Andreassen - 10.04.2013 - 13:39
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Digital Games and Electronic Literature: Toward an Intersectional Analysis
The line between electronic literature and digital games has started to blur more than ever. For example, Christine Love’s 2012 Analogue: A Hate Story can be read as a literary “story” that builds on the visual novel form. However, critic Leif Johnson (of IGN) reviewed Analogue as a “game-like experience” and even a “game” that “neatly sidesteps the label of mere ‘interactive fiction’ like Love’s other games thanks to some smart design choices.” Phill Cameron (of Eurogamer) describes Analogue repeatedly as a “game” and also reflects on its deviation from the “interactive fiction” category. The slippage between the language of fiction and games, in such mainstream reviews, reveals a fascinating taxonomic undecidability. Though Analogue’s “textual” focus makes it a natural boundary object between electronic literature and digital games, this tension extends to games that incorporate minimal text or even no text at all. In this presentation, I focus on Thatgamecompany’s third and most critically-acclaimed game, Journey, which was also released in 2012. In Journey, the player guides a mysterious robed avatar through a desert and up a mountain.
Stig Andreassen - 25.09.2013 - 14:46
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Ephemeral Words, Ephemeral People: Suicide and Choice in Twine Games
On April 10th, 2014, game designer Porpentine released a game called Everything you swallow will one day come up like a stone with the intention of deleting it at the end of the day: “This game will be available for 24 hours and then I am deleting it forever. You can download it here until then. What you do with it, whether you distribute, share, or cover it, is up to you.” The game has lived on through what Porpentine predicted as “social means,” but it was designed as an ephemeral text, and one which the author deliberately destroyed as part of the act of creation. This idea of a vanishing text is interwoven with the experience of electronic literature, as Marjorie C. Luesebrink notes, as part of a practice of “text erasure” as embracing “self-undermining, undecidability, disdain for commercialization, ambivalence about technology, struggle against the presence of text itself, and response to overwhelming data” but also “the fragility of memory” (2014).
Hannah Ackermans - 27.11.2015 - 14:52
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End Matter: Interactive Fiction and a New Linguistic Consciousness
The possibilities for interaction in electronic literature (e-lit) are heavily shaped by the platforms on which that interaction occurs, yet audiences are rarely aware of the extent to which the digital interface may influence, if not define, their sociality. These limitations take the form of community moderation tools and explicit censorship (such as in the case of profanity filters), but also in the designs of emote systems and content popularity systems, and achievement and reputation systems, and even in gameplay design. Often players, users, and audience members must oscillate rapidly and continually between determining the affordances of the tools available to them and evaluating the capacity of those tools to provide the social aims they desire.
Milosz Waskiewicz - 27.05.2021 - 17:14
