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  1. A Clash between Game and Narrative

    In this paper presentation I'll be making a simple point. That computer games and narratives are very different phenomena and, as a consequence, any combination of the two, like in "interactive fiction", or "interactive storytelling" faces enormous problems.
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    Introduction

    Patricia Tomaszek - 14.09.2010 - 13:08

  2. The International Interactive Fiction Community

    In this talk, I describe some details of how these communities have functioned over the years: What forums, chat systems, publications, competitions, directories, archives, and other sorts of institutions and traditions are used to build new aesthetic appreciations of IF, to enable people to learn more about programming, design, and writing, and to to connect IF authors and players. My analysis, which draws on my experience as a member of “the IF community” while also considering online artifacts and discourses could be helpful in other electronic literature communities. It will also consider how existing community activity could help to connect IF more effictively with poets, fiction writers, artists, and and others who work in creative computing.

    Patricia Tomaszek - 15.10.2010 - 16:51

  3. Digital Media

    The chapter takes readers through a semester of teaching narrative-based electronic literature works, including interactive fiction, storyspace hypertexts, web hypertexts, email fiction and interactive web-based narratives.

    Scott Rettberg - 13.01.2011 - 15:24

  4. L’avventura è l’avventura

    Italian blog about interactive fiction.

    Jill Walker Rettberg - 18.02.2011 - 15:01

  5. Interactive Fiction? I prefer Adventure

    Interview with Don Woods about how he built upon Will Crowthers Colossal Cave Adventure in 1976, making it more game-like.

    Jill Walker Rettberg - 18.02.2011 - 15:03

  6. Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original "Adventure" in Code and in Kentucky

    Because so little primary historical work has been done on the classic text computer game "Colossal Cave Adventure", academic and popular references to it frequently perpetuate inaccuracies. "Adventure" was the first in a series of text-based games ("interactive fiction") that emphasize exploring, puzzles, and story, typically in a fantasy setting; these games had a significant cultural impact in the late 1970s and a significant commercial presence in the early 1980s. Will Crowther based his program on a real cave in Kentucky; Don Woods expanded this version significantly. The expanded work has been examined as an occasion for narrative encounters [Buckles 1985] and as an aesthetic masterpiece of logic and utility [Knuth 1998]; however, previous attempts to assess the significance of "Adventure" remain incomplete without access to Crowther's original source code and Crowther's original source cave. Accordingly, this paper analyzes previously unpublished files recovered from a backup of Woods's student account at Stanford, and documents an excursion to the real Colossal Cave in Kentucky in 2005.

    Jill Walker Rettberg - 18.02.2011 - 15:39

  7. Twisty Little Passages: An Approach to Interactive Fiction

    This monograph outlines the history of interactive fiction from its beginnings in the 1970s, through its commercial primetime in the 1980s, its community-based explosion in the 1990s and into the 21st century. Riddles are presented as the primary literary ancestor of interactive fictions, which allows Montfort too see IF as literary but as more than simply narrative.  The book provides a vocabulary and approach for describing the genre and also presents new interpretations of selected games and summarises previous readings and discussions of works.

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    A critical approach to interactive fiction, as literature and game.

    Jill Walker Rettberg - 26.02.2011 - 21:45

  8. Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume

    Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume

    Eric Dean Rasmussen - 08.03.2011 - 14:54

  9. Command Lines: Aesthetics and Technique in Interactive Fiction and New Media

    The Interactive Fiction (IF) genre describes text-based narrative experiences in which a person interacts with a computer simulation by typing text phrases (usually commands in the imperative mood) and reading software-generated text responses (usually statements in the second person present tense). Re-examining historical and contemporary IF illuminates the larger fields of electronic literature and game studies. Intertwined aesthetic and technical developments in IF from 1977 to the present are analyzed in terms of language (person, tense, and mood), narrative theory (Iser's gaps, the fabula / sjuzet distinction), game studies / ludology (player apprehension of rules, evaluation of strategic advancement), and filmic representation (subjective POV, time-loops). Two general methodological concepts for digital humanities analyses are developed in relation to IF: implied code, which facilitates studying the interactor's mental model of an interactive work; and frustration aesthetics, which facilitates analysis of the constraints that structure interactive experiences.

    Patricia Tomaszek - 27.05.2011 - 15:41

  10. Curveship: An Interactive Fiction System for Interactive Narrating

    From the publication: Interactive fiction (often called “IF”) is a venerable thread of creative computing that includes Adventure, Zork, and the computer game The Hitchhiker’s Guide to the Galaxy as well as innovative recent work. These programs are usually known as “games,” appropriately, but they can also be rich forms of text-based computer simulation, dialog systems, and examples of computational literary art. Theorists of narrative have long distinguished between the level of underlying content or story (which can usefully be seen as corresponding to the simulated world in interactive fiction) and that of expression or discourse (corresponding to the textual exchange between computer and user). While IF development systems have offered a great deal of power and flexibility to author/programmers by providing a computational model of the fictional world, previous systems have not systematically distinguished between the telling and what is told.

    Patricia Tomaszek - 22.07.2011 - 18:44

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