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1. Loss of Grasp

   “Loss of Grasp” is an interactive narrative about the notions of grasp and control. What happens when one has the impression of losing control in life, of losing control of his/her own life? Six scenes tell the story of a man that is losing himself. “Loss of Grasp” plays with the grasp and the loss of grasp and invites the reader to experiment with these feelings in an interactive work.

   Serge Bouchardon - 21.09.2010 - 11:28

2. Crossed Lines

   Crossed Lines is a multiform (or multiplot) film telling the stories of nine characters in a way that the viewer can constantly explore and switch between all nine forms, and can simultaneously witness all sides of the characters’ exchanges which are taking place between the nine remote locations. The starting point of the piece was to conceive a series of narratives that could be viewed as individual stories, but would also reference and link to the other stories, as is the case of the multiplot film genre. As McKee has noted ‘multiplot films never develop a central plot; rather they weave together a number of stories of subplot size’. (1998:227) The difference with Crossed Lines is that it is delivered through an interactive interface paradigm, meaning that the viewer has the power to navigate and order the stories themselves, and to create a story of varying complexity depending on the number of different characters which are selected through the interface.

   Scott Rettberg - 08.01.2013 - 17:36

3. Cyborg Tactics and Perilous Hermeneutics in Lexia to Perplexia Shifts in materiality across space.

   Cyborg Tactics and Perilous Hermeneutics in Lexia to Perplexia Shifts in materiality across space¬—from monitor to cell phone screen, from private bedroom to public bus—alter experience and sway meaning. But time also entails an expectation of change that sometimes never comes: works of electronic literature often go without the steady updates to security, appearance, and functionality that corporate software enjoys, turning into strange ruins that, if not broken, carry that possibility. Eight years after the publication of Katherine Hayles’s Writing Machines, my paper returns to one of the book’s case studies, Talan Memmott’s Lexia to Perplexia, with the goal of investigating the effects of the passing years on the hermeneutics instilled in the user by the text. Focusing on the instability that time and software evolutions have sown, I argue that in this uncertain environment, the recourse of the user is a heightened emphasis on investigation, experimentation, and attempted recovery. With these motivations in mind, I turn to various palimpsests in the text, features of Lexia that straddle the divide between the literary technique and the glitch.

   Audun Andreassen - 20.03.2013 - 09:24

4. Blue Lacuna: Lessons Learned Writing the World's Longest Interactive Fiction

   Blue Lacuna is an ambitious new long form interactive fiction comprising nearly 400,000 words of prose and natural language source code. The longest work yet produced in the Inform 7 language, it is also among the most substantial text-based story games in existence, an interactive novel with an average play time of fifteen to twenty hours. In development between 2006 and 2009, Blue Lacuna features several experiments of interest to creators of long-form interactive stories. This paper describes these experiments and performs an anecdotal post-mortem on what succeeded and failed in the project's realization. I focus on how successful I was at achieving my three principal goals: 1) simplifying the IF interface so those unfamiliar with the medium can easily participate, 2) telling a story which revolves around the player's ability to make choices with real dramatic repercussions, and 3) creating a character able to form a complex relationship with the player across the span of a novel-length story.

   Audun Andreassen - 10.04.2013 - 11:24

5. Urban Fragments

   Urban Fragments is an interactive website that functions as a repository for ideas about the city and how the urban experience can be translated into an online experience. From the opening users can peruse numerous avenues each accessible through a different vertical fragment pictured on the home page. Animations, processing sketches and images are gathered together within the site and open in individual pop up windows creating random juxtapositions and eventually chaos on the screen.

   Scott Rettberg - 11.04.2013 - 13:45