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Unraveling Twine: Open Platforms and the Future of Hypertextual Literature
As the technical affordances that shaped early electronic literature’s frontiers have become commonplace, hypertextual structures abound in our experiences of online texts. Many tools make it easier than ever to generate these types of works, but one of the most interesting for its demonstrated literary potential is Twine: a platform for building choice-driven stories easily publishable on the web without relying heavily on code. In software studies, a platform is defined by Ian Bogost and Nick Montfort as a hardware or software system that provides the “foundation of computational expression.” This definition can encompass any of the tools we use to develop procedural content, as Bogost noted on his blog: “a platform…is something that supports programming and programs, the creation and execution of computational media.” Examining Twine as a case-study among current open, non-coder friendly platforms probes the future of interactive narrative on the web—a future that, outside the traditional scope of the electronic literature community, is highly determined by the affordances of platforms and the desires of their user-developers.
Thor Baukhol Madsen - 19.02.2015 - 15:42
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Ephemeral Words, Ephemeral People: Suicide and Choice in Twine Games
On April 10th, 2014, game designer Porpentine released a game called Everything you swallow will one day come up like a stone with the intention of deleting it at the end of the day: “This game will be available for 24 hours and then I am deleting it forever. You can download it here until then. What you do with it, whether you distribute, share, or cover it, is up to you.” The game has lived on through what Porpentine predicted as “social means,” but it was designed as an ephemeral text, and one which the author deliberately destroyed as part of the act of creation. This idea of a vanishing text is interwoven with the experience of electronic literature, as Marjorie C. Luesebrink notes, as part of a practice of “text erasure” as embracing “self-undermining, undecidability, disdain for commercialization, ambivalence about technology, struggle against the presence of text itself, and response to overwhelming data” but also “the fragility of memory” (2014).
Hannah Ackermans - 27.11.2015 - 14:52
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Unheard Music: Twine and Its Priority
When he created Twine, Kris Klimas apparently did not think he was building a hypertext platform, rather an intervention into the broader, perhaps distinct tradition of interactive fiction. By 2009 the hypertext moment may have completely passed, leaving Twine within a different dispensation. Reinforcing this impression, some prominent Twine users have disclaimed any links between their work and that of earlier digital writers, notably the Storyspace contingent, decrying their elders’ commercial publishing model and noting that pay barriers have made turn-of-the-century work inaccessible to them. In thinking about how Twine fits into software culture, we thus face a continuity gap. In technical and (perhaps more arguably) aesthetic dimensions, Twine inherits from and extends the hypertextual experiment; yet there are no formal or institutional connections. Twine works may be in some respects a second coming of hypertext fiction (and many other things as well), but without awareness of prior art.
Amirah Mahomed - 05.09.2018 - 15:38
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Hypertext: Storyspace to Twine
"This chapter examines the transformations of literary hypertext as a nonlinear digital writing format and practice since its inception in the late 1980s. We trace its development from the editorially closed and demographically exclusive writerly practices associated with first generation hypertext (also known as the Storyspace School) to the participatory, inclusive, and arguably more democratic affordances of the freely accessible, userfriendly online writing tool Twine. We argue that while this evolution, alongside other participatory forms of social media writing, has brought creative media practices closer than ever to the early poststructuralist-inspired theory of “wreadership” (Landow 1992), the discourses and practices surrounding Twine perpetuate ideological and commercially reinforced binaries between literature and gameplay.
Carlos Muñoz - 19.09.2018 - 15:25
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Hypertext Theory
In this text, Astrid Ensslin writes about hypertext through a medium-nonspecific sense and a more modern medium-specific meaning. She writes about what hypertext theory relates to and what its characterizations are, explaining how hypertext allows the users to interact through the use of textual and/or multimodal components. She also writes about when hypertext theory first emerged, how its been changing since the late 1980's and how its been establishing the field of hypertext criticsm and related areas surrounding digital fiction and poetry research.
Vegard Aarøen Frislid - 02.10.2021 - 04:01
