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  1. A Clash between Game and Narrative

    In this paper presentation I'll be making a simple point. That computer games and narratives are very different phenomena and, as a consequence, any combination of the two, like in "interactive fiction", or "interactive storytelling" faces enormous problems.
    --
    Introduction

    Patricia Tomaszek - 14.09.2010 - 13:08

  2. Electronic Literature Without a Map

    The paper discusses several problems that seem to define and determine the field of electronic literature in theory and practice and suggests several strategies to remedy the situation in the spirit that is both analytical and polemical.

    Electronic literature has been around at least for 50 years and many of its typical ergodic ingredients share a cultural (pre)history that reaches back to classical antiquity and beyond (I Ching). Still, the cultural, economical, educational and even literary status and visibility of electronic literature is low and obscure at best despite occasional canonisations of hypertext fiction and poetry (the works of Michael Joyce and Jim Rosenberg), literary groups such as the OuLiPo that from very early on extended their orientation beyond print literature, and the efforts of an international or semi-international organisation (ELO) to promote and preserve electronic literature - not to mention multiple and more or less influential and comprehensive theories of electronic and ergodic literature.

    Eric Dean Rasmussen - 27.01.2011 - 16:03

  3. Expressive Processing: Digital Fictions, Computer Games, and Software Studies

    What matters in understanding digital media? Is looking at the external appearance and audience experience of software enough—or should we look further? In Expressive Processing, Noah Wardrip-Fruin argues that understanding what goes on beneath the surface, the computational processes that make digital media function, is essential.

    Wardrip-Fruin suggests that it is the authors and artists with knowledge of these processes who will use the expressive potential of computation to define the future of fiction and games. He also explores how computational processes themselves express meanings through distinctive designs, histories, and intellectual kinships that may not be visible to audiences.

    Scott Rettberg - 20.05.2011 - 11:26

  4. Interactive Fiction as Literature

    Interactive Fiction as Literature

    Eric Dean Rasmussen - 01.09.2011 - 14:34

  5. Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2012)

    Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2012)

    Patricia Tomaszek - 13.04.2012 - 15:14

  6. Quantum Feminist Mnemotechnics: The Archival Text, Digital Narrative and The Limits of Memory

    New technologies-- whether used for artistic or scientific ends--require new shapes to speak their attributes. Feminist writers too have long sought a narrative shape that can exist both inside and outside of patriarchal systems. Where like-minded theorists have tried to define a gender-specific dimension for art, Quantum Feminist Mnemotechnics demonstrates that feminist artists have already built and are happily inhabiting this new technological room of their own. This dissertation is an exploration of the architectural shapes of mnemonic systems in women's narratives in the new media (focusing on Shelley Jackson's Patchwork Girl, M.D. Coverley's Califia and Diana Reed Slattery's Glide and The Maze Game as exemplary models). Memory is key here, for, what gets stored or remembered has always been the domain of official histories, of the conqueror speaking his dominant cultural paradigm and body. I explore at length three spatial architectures of the new media: the matrix, the unfold and the knot.

    Carolyn Guertin - 20.06.2012 - 19:00

  7. Event-Sequences, Plots and Narration in Computer Games

    Opening with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games that has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and the sequence of events understood as a plot, that is as a sequence of (chronologically) ordered and causally linked events. This kind of narrative is quite remote from the proto- typical narrative serving as a source for most narratological considerations. All media and not only computer games therefore actually need their own narratology.

     Source: author's abstract

    Kristine Turøy - 06.09.2012 - 18:55

  8. Novas Indústrias Culturais da América Latina ainda Jogam Velhos Jogos: da República das Bananas a Donkey Kong

    Novas Indústrias Culturais da América Latina ainda Jogam Velhos Jogos: da República das Bananas a Donkey Kong

    Luciana Gattass - 23.10.2012 - 16:41

  9. Expressive Processing: On Process-Intensive Literature and Digital Media

    Most studies of digital media focus on elements familiar from traditional media. For example, studies of digital literature generally focus on surface text and audience experience. Interaction is considered only from the audience's perspective. This study argues that such approaches fail to interpret the element that defines digital media -- computational processes. An alternative is proposed here, focused on interpreting the internal operations of works. It is hoped that this will become a complement to (rather than replacement for) previous approaches. The examples considered include both processes developed as general practices and those of specific works. A detailed survey of story generation begins with James Meehan's Tale-Spin, interpreted through "possible worlds" theories of fiction (especially as employed by digital media theorists such as Marie-Laure Ryan). Previous interpretations missed important elements of Tale-Spin's fiction that are not visible in its output.

    Scott Rettberg - 13.12.2012 - 16:50

  10. Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2013)

    Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2013)

    Elisabeth Nesheim - 04.02.2013 - 13:00

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