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1. Hors Catégorie

   Hors Catégorie is an interactive fiction by Chris Calabro and David Benin developed in 2007.

   It is possible to play it on almost every system, even on Smartphone.

   The used Software is a z-machine Interpreter, which is a game’s requirement as the player needs it in order to emulate an Infocom machine.

   It takes place entirely in a single hotel room, with several subrooms. Unlike many adventure-like interactive fictions, location, possessions, and strength are not the main obstacles of this game, but rather player knowledge and moral choices. The point is to explore the inner conflict of the protagonist and shape his character. This is why the typical presence of interactive fictions’ obstacles makes Hors Catégorie innovative and different because here they are the player moral choices.

   The title of the game comes from the 'out of category' classification of difficult climbs in the Tour de France, where the game is set. The protagonist is a rider in the Tour, just waking, getting ready to take on the day's current stage.

   How to play:

   Scott Rettberg - 07.01.2013 - 16:24

2. Digging For The Roots Of Interactive Storytelling

   This paper is a writer's reflections on the pre-computer origins of interactive narrative. It seeks out forms of human expression dating back to prehistory that can viewed as the precursors of contemporary interactive storytelling and contemplates what can be learned from these forms that can be applied to contemporary works of interactive storytelling. The examined forms include the participatory myth-based dramas of the ancient Egyptians and Greeks; coming of age rituals in traditional societies; games that blend spiritual beliefs and athleticism; and various Judeo-Christian and pagan religious practices.

   Scott Rettberg - 08.01.2013 - 11:46

3. The Madeleine Effect

   "The Madeleine Effect" is a digital story project, an artistic look at ways to incorporate a creative text based story in the linear format and language styling of a novel into the game world. 

   I believe that when a primarily text-based fiction story is created in a visual narrative medium, it can be utilized to prompt the user to act as a character. The user therefore may be guided to perform through a narrative. I am interested in looking at interactive fiction from the perspective of a writer aiming to invite meaningful interaction leading towards playful behaviors, or acting, on the part of the player. 

   "The Madeleine Effect" is a fiction story that is experienced through both digital and print media. The story interface aims to be interactive through the player's performance, which is demonstrated by inputting text into the story while playing a defined role. The interactivity in this project is focused at this time so as to more easily observe the ideas I am exploring. My hope is that this project will spur thought and conversation about ideas for increased interactivity and a more intelligent technical structure.

   Scott Rettberg - 08.01.2013 - 16:16

4. Avatars Sharing Agency: Metaphor in Interactive Narrative Environments

   This paper considers how the avatar focuses the metaphor of interactivity in video games and interactive narrative environments. It argues that, despite serving as the on-screen representation of user input, the avatar has some independent agency (whether through design or representational practice) that influences its behavior. Thus, rather than merely relying upon it as her transparent stand-in, the player must negotiate with the avatar to achieve her goals. The negotiation serves to dramatize interactivity as an imperfect conduit between the textual and extra-textual worlds. While not so evident in video games, this imperfection sustains the metaphor of interactivity, deepening expressivity in interactive narrative environments.

   (Source: Author's abstract, 2008 ELO Conference site)

   Scott Rettberg - 08.01.2013 - 16:32

5. The Machinimatic Moment

   "The Machinimatic Moment" discusses a type of filmmaking that uses videogame engines (commonly referred to as machinima). I contend machinima exists within a liminal space between a number of diapoles including: production/consumption, play/cognition, and synthesis/critique. While much of machinima can be considered self-referential in that it consistently remarks upon the game itself and, in many ways, its limitations, other productions reveal sophisticated, compelling stories that are neither game nor traditional filmic narrative. I conclude by arguing that its liminality gives machinima distinctive and interesting qualities.

   (Source: Author's abstract, 2008 ELO Conference)

   Scott Rettberg - 09.01.2013 - 14:41