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1. The Princess Murderer

   "'The Princess Murderer,' a Flash fiction, was originally published in the Iowa Web Review in 2003 and deals with a number of formal and thematic issues that are of interest to scholars of digital fiction. Due to its satirical approach to intertextuality, it may be referenced as both a hypertext in the Genettian sense of being based on an earlier hypo-text (Charles Perrault's 'La Barbe bleue,' or 'Bluebeard') and a piece of fan fiction. Its distinctly ludic character is thematized and problematized by references to the fatal repercussions of clicking (clicking equals killing princesses) and by the tongue-in-cheek subversion of stereotypical melodramatic game endings (having to save the princess, but what if there are too many of them all of a sudden?). Of further analytical interest are, for instance, the text's focus on gender/pornography and technology, on Gothic fiction and media, and its multimodality (you need sound to read it)."

    

   Source: Electronic Literature Directory

   Scott Rettberg - 16.06.2012 - 00:45

2. Dadaventuras

   In English and Spanish, by Chris Joseph in collaboration with artist Maria Colino, Dadaventuras is an experiment in aleatory narrative, using comic book conventions to generate stories from 8 distinct but overlapping perspectives.

   The language of our narrative is hybrid (from the greek 'hybris', outrage or violation): composed of parts from different languages, in this case our own blend of 'spanglish'. This intentionally recalls the Dadaists use of nonsense to express dissatisfaction with a world society that continued its insane addiction to war. The user can also write their own text to use as the basis for the generated narratives, or use one of 8 classic texts, or turn the text off completely and make the story up in their head.

   (Source: Authors' description)

   Scott Rettberg - 16.06.2012 - 12:18

3. Das Epos der Maschine

   This work uses pictures and sound to make it more interesting. It looks and sounds creepy. The focus of the story is the interaction between man and machine. 

   Scott Rettberg - 16.06.2012 - 21:47

4. Catalogue: Nothingness

   "CATALOGUE: Nothingness" uses description, image, email and javascript to interrogate some of the cultural and mechanical forms that operate in online shopping. The work is designed to exist on a parallel plane with commercial shopping sites and to offer a menu of small interventions that extend outward into the world. The theme of nothingness was chosen for the catalogue in order to defamiliarize common structures found in online shops by substituting imaginary objects, states of being, and existential drama for regular items and marketing strategies.

   (Source: Author's description from the Electronic Literature Directory)

   Scott Rettberg - 17.06.2012 - 00:01

5. There, There Square

   There, There Square

   Scott Rettberg - 17.06.2012 - 13:01

6. My Summer Vacation

   This haunting narrative about a summer vacation turned tragic uses a slim strip of moving images as the background for a stream of language flowing from right to left as a series of voices tell a piece of the story. The sound of waves on the shore serve as a soothing aural backdrop to each character’s whispered voices, perhaps suggestive of what happens when the sea raises its voice. Each character involved with the tragic turn of events brings a different perspective to the situation, yet they are all so involved in their own affairs, much like the ending of Robert Frost’s poem “Out, Out.” In the final lines of the poem, as the speaker (whisperer) seeks to tie up the events in a neat little package that can provide closure, we realize that closure eludes all the characters in the story, who must continue to live on haunted by their memories and regrets.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   My Summer Vacation was originally published via Adobe Flash in 2008. It was republished via HTML5 in 2020.

   Scott Rettberg - 17.06.2012 - 13:59

7. Palimpsest

   “Palimpsest” is an audiovisual work exploring the space between sound and image through collaboration. Two distinct narratives, audio and visual, collide to find alternative paths and perspectives around a virtual light sculpture. The piece reinterprets one of a series of photographic light paintings taken during a drive at night [see image 1]. The photographs were experiments: improvisations with long exposures, motion and gesture. As images in themselves however, the collaborators found them to be engaging both visually and conceptually. Visually they bring to mind the poetic: the camera has captured ethereal light trails drawn by the motions of passing traffic in mid-air, giving them an almost sculptural quality. They suggest contours, energies, volumes and spaces that are open to further exploration and interpretation. Conceptually, their contradictory nature seems to suggest ideas of the interstitial - the space or place in-between things - or what Duchamp termed the “infrathin”. The light-forms captured in the image, exist in-between the real and the virtual, brought together in a moment by the camera.

   Meri Alexandra Raita - 18.06.2012 - 19:22

8. Narrative (Pre)Occupations: Self-Surveillance, Participation, and Public Space

   Under consumer culture, self-surveillance—the act of submitting your own data to corporate interests like Amazon, TiVo or Facebook—becomes a revolutionary gesture of participation (Andrejevic 15)…or so corporate interests would have us believe. With the advent of social media, we now log our own data in the service of multinationals as we
   seemingly embrace the arrival of a technological Big Brother. Several digital media artists, however, have turned the tables or, more exactly, the camera on themselves by using digital media and self-surveillance as a means of creating new digital narratives.

   Eric Dean Rasmussen - 19.06.2012 - 14:21

9. Graphic Sublime: On the Art and Designwriting of Kate Armstrong and Michael Tippet

   This critical essay was written for the Prairie Art Gallery catalogue presenting Kate Armstrong's and Michael Tippett's Grafik Dynamo! Its argument, implied in the catalogue version, can be stated explicitly in the present scholarly format, namely that narrative, associated with the development of the modern novel in print, is distinctly unsuited to literary arts produced in and for the electronic medium. Narrative in the Dynamo! is not entirely absent, but its dominance is put into question. The same holds for the place of argumentation in critical writing. The Dynamo! develops episodically, haunted by the comics, and by the popular and literary narratives it samples; the essay develops similarly, in blocks of partly autobiographical, partly analytical text. Propositions emerge not sequentially or through feats of interpretation, but at the moment when a block of text encounters a cited image from the Dynamo!

   Eric Dean Rasmussen - 22.06.2012 - 12:13

10. 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

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