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1. Avatars of Story

   Traces the transformation of storytelling in the digital age. Since its inception, narratology has developed primarily as an investigation of literary narrative fiction. Linguists, folklorists, psychologists, and sociologists have expanded the inquiry toward oral storytelling, but narratology remains primarily concerned with language-supported stories. In Avatars of Story, Marie-Laure Ryan moves beyond literary works to examine other media, especially electronic narrative forms. By grappling with semiotic media other than language and technology other than print, she reveals how story, a form of meaning that transcends cultures and media, achieves diversity by presenting itself under multiple avatars.

   Eric Dean Rasmussen - 24.02.2011 - 09:00

2. The New Digital Storytelling: Creating Narratives with New Media

   The New Digital Storytelling: Creating Narratives with New Media

   Eric Dean Rasmussen - 01.11.2011 - 16:55

3. LEi/iEBESÜBUNGEN

   Von 15. Mai bis 15. Juli 2002 wurden über Postkarten und Mailings Menschen dazu aufgefordert, per SMS Körperteile, deren Beschreibungen und Verortungen einzusenden. Aus diesem Material entstanden die untenstehenden Body-Tracks: Geschichten, Beobachtungen, Assoziationen; Leibes- und Liebesuebungen für den kollektiven Körper.

   (Source: Homepage)

   Jörgen Schäfer - 07.11.2012 - 16:46

4. Trilogy

   My work with visual narrative has included installation form, book works, diptychs and billboard presentations. Using the web has allowed me to continue to expand my preoccupations with constructing rules for reading, methods of pacing and continue to explore image/text relationships. I am interested in the space between language and image.

   Trilogy is comprised of 3 image/text narratives whose themes are concerned with survival. Locale and characters are suggested by cropped fragments from mass media imagery as well as map fragments. While the images may allude to time period by photographic style or content, their function (protagonist, action, location) is directed by the text.

   Trilogy is a collaboration with Los Angeles fiction writers Rod Moore and Katherine Haake, both of whom have allowed me to reconfigure their texts.

   (Source: 2002 ELO State of the Arts gallery)

   Scott Rettberg - 13.01.2013 - 21:10

5. Limbo and the Edge of the Literary

   Limbo, released in 2010, is a puzzle platformer that features a player character who awakes in Limbo, on the edge of hell. He must traverse a world of bear traps, giant killer spiders, and spinning gears. As with any game, the player of Limbo will necessarily fail while solving the game’s puzzles; however, this game makes those failures especially painful. The player character is decapitated, impaled, and dismembered as the player attempts to solve each puzzle. The game’s monochromatic artwork, its vague storyline, and these gruesome deaths meant that Limbo, predictably, found its way into various “games as art” conversations. However, this presentation asks whether Limbo can serve as a different kind of boundary object. Given its complete lack of text and its minimalist approach to storytelling, what is the status of Limbo as a literary object?

   Stig Andreassen - 25.09.2013 - 14:31

6. 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

7. Sc4nda1 in New Media

   At heart any scandal is a story, or a thing of many stories; sc4nda1 is even more peculiar, but also begins with a telling.

   What you have before you started as an essay (or intent to rant) about an observation I kept reading in recent criticism, that electronic writing has not been properly dressed for the serious table. Where, the questions ran, are the publishers, the editors, the established and establishing critics? In a time of intense experiment and innovation, who says which textual deviations make real difference, and which are just bizarre? More ominously: where are the naive, casual readers, the seekers of pleasurable text who ought to move design's desire? To spin an old friend's epigraph, just who, exactly, finds this funhouse fun?

   Scott Rettberg - 15.10.2013 - 11:01

8. 80 Days

   80 Days is an interactive fiction game released by Inkle on iOS platforms on July 31, 2014 and Android on December 16, 2014. It was released on Microsoft Windows and OS X on September 29, 2015. It employs branching narrative storytelling, allowing the player to make choices that impact the plot. The plot is loosely based on Jules Verne's novel Around the World in Eighty Days. (Source: Wikipedia)

   Hannah Ackermans - 08.02.2017 - 14:09

9. From Game-Story to Cyberdrama

   Moving from the holodeck to the game board, Janet Murray explains why we make dramas of digital simulations.

   Andre Lund - 26.09.2017 - 13:09

10. Deikto: A Language For Interactive Storytelling

    Chris Crawford walks through Deikto, an interactive storytelling language that "reduce[s] artistic fundamentals to even smaller fundamentals, those of the computer: addition, subtraction, multiplication, and division."

    The source is the essay-review on www.electronicbookreview.com written by Chris Crawford

    Kristina Igliukaite - 15.05.2020 - 13:18

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