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1. Digital Media

   The chapter takes readers through a semester of teaching narrative-based electronic literature works, including interactive fiction, storyspace hypertexts, web hypertexts, email fiction and interactive web-based narratives.

   Scott Rettberg - 13.01.2011 - 15:24

2. Colossal Cave Adventure

   The first work of interactive fiction was Colossal Cave Adventure. Its first iteration was developed in 1975-76 by Will Crowther, a Cambridge, Massachusetts-based programmer who was part of the team that developed ARPANET, the original network infrastructure on which the Internet is based (Montfort, 1997, p. 86), and subsequently expanded by Don Woods (1977). Crowther turned his programming skills towards a game about cave exploration after his divorce in order to entertain his children when they visited him (Nelson, 2001, p. 343). Crowther had been a spelunker in his past, helping to map a network of caverns in Kentucky (Jerz, 2007). He used that experience as the basis for the network of caves described in Adventure. The game itself provided a relatively simple experience of navigation and puzzle solving. Players attempted to retrieve objects from within the cave environments, and to win by completing their collection—a kind of textual geocaching.

   Jill Walker Rettberg - 18.02.2011 - 15:06

3. Mindwheel

   Mindwheel

   Eric Dean Rasmussen - 07.03.2011 - 13:02

4. Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume

   Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume

   Eric Dean Rasmussen - 08.03.2011 - 14:54

5. Curveship: An Interactive Fiction System for Interactive Narrating

   From the publication: Interactive fiction (often called “IF”) is a venerable thread of creative computing that includes Adventure, Zork, and the computer game The Hitchhiker’s Guide to the Galaxy as well as innovative recent work. These programs are usually known as “games,” appropriately, but they can also be rich forms of text-based computer simulation, dialog systems, and examples of computational literary art. Theorists of narrative have long distinguished between the level of underlying content or story (which can usefully be seen as corresponding to the simulated world in interactive fiction) and that of expression or discourse (corresponding to the textual exchange between computer and user). While IF development systems have offered a great deal of power and flexibility to author/programmers by providing a computational model of the fictional world, previous systems have not systematically distinguished between the telling and what is told.

   Patricia Tomaszek - 22.07.2011 - 18:44

6. Cybertext Killed the Hypertext Star

   Cybertext Killed the Hypertext Star

   Eric Dean Rasmussen - 01.09.2011 - 14:14

7. Deadline

   Deadline is a traditional detective mystery adpated to adventure game format: a mansion, a murder, and the usual suspects. It differs from the episodic paradigm of treasuer hund, bewildering maze, and tough monsters introduced by Adventure and instead confines the action to a limited space . . . with almost no hidden rooms, no mazes, less then fifteen, all human, characters (if human is the right word), and an intratextual time span of twelve hours.

   (Source: Espen Aarseth, Cybertext)

   Scott Rettberg - 06.09.2011 - 14:30

8. Interactive Fiction

   Interactive Fiction

   Eric Dean Rasmussen - 09.05.2012 - 08:58

9. Galatea’s Riposte: The Reception and Receptacle of Interactive Fiction

   When I open the Spatterlight application to access “Galatea,” one of Emily Short’s many fabulous
   pieces of interactive fiction, a supple string of text hails me, flirts with me, and stops just short of
   calling me by name. The more I read, the more I learn about the source of the text itself, Galatea.
   “She” is a simple yet oddly convincing AI, one who is as reactive as she is acted upon, whose words
   emerge in response to my own, and whose short temper has shut down our collective story more
   times than I can count. As startling as her salutations initially seemed and as accustomed to her
   spurning me as I have become, I remain intrigued by Galatea’s overt and shameless invocation of her reader—in this case, me.

   Eric Dean Rasmussen - 14.06.2012 - 16:34

10. The Presumed Literariness of Digital

    This presentation will challenge the current, too quickly determined relationship between
    the ‘literary’ and digital media. The presumed literariness of digital art--these days, anything
    from performance art to virtual sculpture work--muddles the already confused and meandering
    genre of electronic literature, leading away from acts of reading and remarking on text and its location in new media. Electronic literature began as a study of literary writing produced and
    meant to be read on a computer screen, opening up new possibilities for interactive and dynamic
    storytelling, utilizing the new medium’s ability for linking lexias. The literariness of this work
    is manifest: the work was primarily textual, the centrality of reading paramount. Textuality was
    at the heart of the work, thus the term electronic literature was appropriate and uncontested.
    Lately, ‘electronic literature’ is an umbrella-term for all things digital. A spectrum of genres
    and forms are included, among them video games, interactive fiction, digital art, and (virtual)
    

    Eric Dean Rasmussen - 19.06.2012 - 14:41

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