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1. AlletSator

   “Alletsator” is a hypermedia work that is best defined as a quantum opera, or perhaps in the final analysis a game – interactive, three-dimensional – where the present and the virtual intersect and mix. A hybrid hypermedia, therefore, in which the “spectactor” (immersed in an environment that is intended to be cosmic, magical, fantastic, dreamlike ...) is challenged to traverse the surface of a sequence of drawings. The work is a journey without ending. “Alletsator” is a computer generated narrative that allows an infinite potential of combinations. It is also an object of the new media art. It is a product and agent of the cyber culture that promises to revolutionize the world as we know it. The dramaturgy it needs is already anticipated in the metaphor that better explains the work itself: a spacecraft of dispersed paths, of multilinear unexpected pathways.

   Scott Rettberg - 30.01.2011 - 18:22

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. Playable Media and Textual Instruments

   The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.

   Jörgen Schäfer - 05.07.2011 - 13:35

4. King of Space

   A dark science-fictional ritual of fertility and regeneration, King of Space takes place in an abandoned starship, circling the edges of a plague-ridden and collapsing solar system, where an escaped terrorist meets the last star-captain and his ship's Priestess. Old man and young, young woman and ageless starship meet and meet again as enemies, allies, rapists, and lovers. The story has elements of gaming; an unwise move can send a character to the kitchen ("hundreds of tiny sandwiches, all alike") or into the rocky caverns of the intelligent and unpleasant starship, where a very persistent elevator is waiting to have a conversation; you can meet the Lady Nii's ancient, dreadful lover, King Brady, or become him; you can fall into a maze of love, or find the dance at the center of the world that regenerates the ship. Contains games and animations. Not for kids. (Publisher's blurb)

   Jill Walker Rettberg - 27.07.2011 - 15:23

5. 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

6. Silent Conversation

   A casual game in the platform style based on simple reading of texts.

   Scott Rettberg - 06.10.2011 - 16:23

7. Uncle Roy All Around You

   Uncle Roy All Around You

   Jörgen Schäfer - 22.03.2012 - 12:57

8. Vienna Underground: The Third Woman Project

   Multithreaded multisited multiversion project that played on Third Man by Orson Welles, dealing with themes of bioterrorism. A film was central to all iterations of the project, which involved installations, mobile phone videos, performance, fashion, and site-specific variations.

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   Scott Rettberg - 04.05.2012 - 10:57

9. Pax: an instrument

   Theme

   "Pax" is a lesser apocalypse that began to unveil itself one stormy spring day near Dallas when someone closed the terminal and the guns came out. It's about flying and falling, truth and desire, nakedness, terror, and the home land. While some may find these themes all too American, they are as Chekhov might have said originally Russian: recall what happened to those cosmonauts who took off from the USSR and landed in the CIS, displaced by a trick of history, discovering (as we all must) that we travel through time as well as space. It's become a common experience these days, this journey to another world, this never coming home. Especially when the guns come out.

   Scott Rettberg - 25.05.2012 - 15:22

10. Animalamina

    Created by babel and 391.org, Animalamina, a collaboratively constructed work of multimedia poetry for children, consists of 26 pages of flash-based poetry organized around the letters of the alphabet.  The key aim of this project is to introduce a younger audience (5 - 11) to a variety of styles of digital poetry, animation and interaction, through the familiar format of an animal A-Z.  As the project’s “background” page notes, this work is situated within a tradition alphabet primers that stretches back over 500 years.  This background is noteworthy precisely because of the tradition’s combination of pedagogy and play, instructing new generations in the mechanics of emerging techniques and technologies.  Specific innovations introduced in this recent ABC are animation, audio, interactive content, non-linearity and chance.  

    Scott Rettberg - 16.06.2012 - 12:01

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