Search

The search found 186 results in 0.014 seconds.

Search results

1. Shade

   Shade is an experiment in surrealism and psychological fear. It begins as a classic “room escape” scenario; but that’s not how it ends.

   Play Shade if you’re in the mood for a short trip into an uncertain, shifting environment that might just be a nightmare. (Description from eblong.com)

   Meri Alexandra Raita - 03.03.2012 - 18:56

2. Interactive Fiction Communities: From Preservation through Promotion and Beyond

   The interactive fiction (IF) community has for decades been involved with the authorship, sharing, reading, and discussion of one type of electronic literature and computer game. Creating interactive fiction is a game-making and world-building activity, one that involves programming as well as writing. Playing interactive fiction typically involves typing input and receiving a textual response explaining the current situation. From the first canonical interactive fiction, the minicomputer game Adventure, the form has lived through a very successful commercial phase and is now being actively developed by individuals, worldwide, who usually share their work for free online.

   Eric Dean Rasmussen - 23.03.2012 - 07:24

3. Zork 1: The Great Underground Empire

   The first part of the bestselling Zork trilogy, and a close descendant of Adventure, the first work of interactive fiction or text adventure game as the genre was known at the time. Zork I was Infocom's first game, and sold 378,987 copies by 1986. Similarly to Adventure, the game unfolds in a maze-like dungeon, where the user (or adventurer) must battle trolls and solve puzzles in order to find twenty trophies to bring back to the house outside which the game begins. 

   Jill Walker Rettberg - 26.03.2012 - 10:09

4. Curveship: An Interactive Fiction System for Narrative Variation

   A report on the interactive-fiction system Curveship, which was designed to provide users a means of generating narrative variation.

   Eric Dean Rasmussen - 08.04.2012 - 09:25

5. Forms of Future

   Forms of Future

   Eric Dean Rasmussen - 01.05.2012 - 09:29

6. Interactive Fiction

   Interactive Fiction

   Eric Dean Rasmussen - 09.05.2012 - 08:58

7. Introduction [to New Narratives: Stories and Storytelling in the Digital Age]

   Editors' introduction to a collection of essays on digital narratology. 

   Eric Dean Rasmussen - 10.05.2012 - 13:26

8. Carrying across Language and Code

   With reference to electronic literature translation projects in which we have been involved as translators or as authors of the source work, we argue that the process of translation can expose how language and computation interrelate in electronic literature.

   Eric Dean Rasmussen - 12.06.2012 - 16:36

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

Pages