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1. Cybertext Killed the Hypertext Star

   Cybertext Killed the Hypertext Star

   Eric Dean Rasmussen - 01.09.2011 - 14:14

2. Interactive Fiction as Literature

   Interactive Fiction as Literature

   Eric Dean Rasmussen - 01.09.2011 - 14:34

3. 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

4. Winchester's Nightmare

   Author's description:

   Winchester's Nightmare is a work in Inform, premiered at Digital Arts and Culture '99 on October 29 in Atlanta. In its "hardback" form, it is a novel-length interactive fiction which includes a computer running software: a novel machine. The work consists of a primitive portable computer running this cybertext in the literary fiction genre, with a text-adventure interface. Ten hardbacks were manufactured for sale;some are still available. The softback, available free, contains the entire text of the hardback edition.

   Meri Alexandra Raita - 08.09.2011 - 21:25

5. Because It's Not There: Ekphrasis and the Threat of Graphics in Interactive Fiction

   Existing scholarship on interactive fiction (IF, also known as the text adventure) tends to treat it as a video game genre and/or as a category of electronic literature. In this essay I argue that IF can be understood as participating in traditions of visual prose and ekphrastic textuality, insofar as IF consists of room and object descriptions which direct the player to visualize the things they describe. Unlike traditional ekphrastic literature, however, IF also asks the player to take practical actions in response to the images he or she visualizes. During the commercial era of IF, ekphrasis was the most effective means available of providing players with immersive visual experiences. However, graphical video games have now surpassed IF in this area. Therefore, in order to justify the continued existence of IF, contemporary IF authors have been forced to conceive of the visuality of IF otherwise than in terms of the logic of transparency. One strategy for doing this, exemplified by Nick Montfort's game, Ad Verbum, is to abandon visuality almost entirely and emphasize IF's linguistic and textual qualities.

   Eric Dean Rasmussen - 13.09.2011 - 12:20

6. City of Secrets

   Possibly Short's most polished work, and that's saying something. In a city based on both high technology and magic, trains and robots and illusions, an innocent traveller gets swept into the center of a clandestine power-struggle which will forever change the city and how it is seen. Excellent world-building, not just in that the environment is highly explorable and implemented in great detail, but in that the city has a distinct foreign-metropolis-through-tourist-eyes flavor, and a history which makes itself known in various and subtle ways. Good sense of choice: although there's basically only one ending, much of what happens along the way is variable. Uses the conversation system from Pytho's Mask: a combination of menus and ask/tell that's sensitive to context and lets you change topics arbitrarily. Even though most characters will respond to a wide variety of topics, it's still easy to run out of things to say. Features a "novice" mode, but the standard mode is recommended for anyone but the absolute newcomer to IF.

   (Source: Carl Muckenhoupt, Baf's Guide to IF Fiction Archive)

   Eric Dean Rasmussen - 13.09.2011 - 12:39

7. Brown House Kitchen

   During the author's residency as a writer and designer of experimental computer mediated narratives in the Computer Science Lab (CSL) at  Xerox PARC,  the exploratory narrative, Brown House Kitchen was written and programmed  in LambdaMOO,  a MOO that uses an object oriented programming language developed at PARC by Pavel Curtis.  Influenced by conversations with Curtis and by the ubiquitous computing research being undertaken in CSL,  the narrative took place in  a future communal eating space where virtual interrelated devices integral to the functioning of the kitchen recorded events in various ways.  In Rashoman fashion, these devices related the details of things that occurred in a previous November in different but related ways. Players who "entered" Brown House Kitchen unfolded the story in various (unpredictable) ways by examining the things they found in the environment. For instance, the "narranoter" disclosed pseudo-randomly generated text using the UNIX date and was based on the

   Judy Malloy - 12.10.2011 - 19:25

8. Interview with Andy Campbell: “Digital Fiction and Interactive Fiction”

   Interview with Andy Campbell: “Digital Fiction and Interactive Fiction”

   Fabio De Vivo - 22.10.2011 - 11:14

9. Collaborations in E-lit

   This essay, a discussion between two esteemed e-poets for whom collaboration is an integral part of their creative practice, appeared in the "The Collaborative Turn" special issue of American Book Review, guest-edited by Davis Schneiderman. In their discussion, Montfort and Strickland survey several common types of e-lit collaboration and provide links to representative examples. Strickland explicitly links the material aesthetics of code poetics to literary theorist Timothy Morton's call for critical thinking that engages the universe's enmeshed interconnectedness, which he dubs "the ecological thought."

   Eric Dean Rasmussen - 29.12.2011 - 11:45

10. Computing Language and Poetry

    [Insert author's abstract here.]

    Montfort introduced a new critical term, stanzory, which refers to "a unit of lines in a poem that is also a narrative with some sort of point."

    Presented at the 2012 MLA Convention as part of the "730. New Media Narratives and Old Prose Fiction" panel, arranged by the Division on Prose Fiction. Other panelists included Dene Grigar and Joseph Tabbi. The moderator, filling in for Amy Elias, was Heather M. Houser.

    Eric Dean Rasmussen - 17.01.2012 - 15:45

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