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1. Stuck in a Loop? Dialogue in Hypertext Fiction

   "This paper will focus on the use of dialogue in two early hypertext fictions. Both Michael Joyce's afternoon, a story (first published 1987) and Yellowlees Douglas's I Have Said Nothing (1994) have achieved near-canonical status having been excerpted in print in the Norton anthology Postmodern American Fiction (Geyh). As is often the case with hypertext fictions, the writers, Jane Yellowlees Douglas and Michael Joyce, also happen to be two of the foremost theorists of the form, and the sense of mutual influence is unavoidable. The aims of this paper are twofold: to explore the functions of dialogue in these fictions and the extent to which the representations are innovative; and to examine whether we need to reassess our models for understanding the functions and forms of fictional dialogue as we have begun to apply them to the print novel." (Source: taken from the first paragraph of the paper itself)

   Jill Walker Rettberg - 01.11.2011 - 12:13

2. Quantum Authoring for "Prom Week": What We Learned Writing Six Thousand Lines of Procedurally-Driven Dialogue

   "Prom Week" is an innovative new social simulation game from the Expressive Intelligence Studio at UC Santa Cruz. Unlike other social games like The Sims, Prom Week's goal (as with its spiritual and technological predecessor, Façade) is to merge rich character specificity with a highly dynamic story space: a playable system with a coherent narrative. When I was brought on board as the lead author a year before release, I had no idea the scale of work I was getting myself into: overseeing a team of (at times) eight writers to create over eight hundred hand-authored scenes tightly integrated with pre- and post-conditions, inline variation, and animation choreography. Each scene had to be specific enough to be narratively satisfying but broad enough to cover as wide a possibility space as possible, putting severe limitations on how dialogue could be written.

   Eric Dean Rasmussen - 22.06.2012 - 16:58

3. Performing Assemblages of Collective Enunciation in 'The Broadside of a Yarn'

   Traditionally, visual, computational, performing, and literary arts referred to separate corpora, theoretical frameworks, modes of production, venues, and audiences. This persistent separation proves problematic for creating, disseminating, experiencing, and theorising multi-modal work which draws equally upon multiple artistic and scientific traditions. This paper adopts a necessarily hybrid approach to addresses a multi-modal body of practice-led research. The Broadside of a Yarn remediates the broadside, a performative form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signifies that it is intended to be performed. Embedded within the cartographic space of the printed map are QR codes which link to computer-generated narrative dialogues composed of fragments culled from a corpus of print literature. These are presented as performance scripts replete with ‘stage’ instructions suggesting how and where they might be performed. As such, these points on the physical map point to potential events, to utterances, to speech acts.

   J. R. Carpenter - 21.11.2013 - 17:02