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1. Shakespeare in Simlish? Responsive Systems and Literary Language

   There is a moment that can happen when reading/playing an interactive fiction. The system just presented some text, perhaps quite engaging or even beautiful. And then one tries to reply, using some of the same language, only to receive an error. The underlying system doesn't can't hear the language with which it speaks. The language it displays is written ahead of time, while the language it receives must be parsed and acted upon at runtime.

   There is something uneasy about this disjuncture, and one response is to try to avoid all such problems. Will Wright's Sims speak only in gibberish sounds and visual icons, so that the surface representation of language matches the very simple internal representation of what they can discuss. Chris Crawford currently plans for his new storytelling system to avoid the construction of English-like sentences found in Storytron — instead moving to an icon language intended to help players better understand the internal representations (much more complex than those in The Sims) on which his story system will operate.

   Eric Dean Rasmussen - 22.06.2012 - 16:55

2. Quantum Authoring for "Prom Week": What We Learned Writing Six Thousand Lines of Procedurally-Driven Dialogue

   "Prom Week" is an innovative new social simulation game from the Expressive Intelligence Studio at UC Santa Cruz. Unlike other social games like The Sims, Prom Week's goal (as with its spiritual and technological predecessor, Façade) is to merge rich character specificity with a highly dynamic story space: a playable system with a coherent narrative. When I was brought on board as the lead author a year before release, I had no idea the scale of work I was getting myself into: overseeing a team of (at times) eight writers to create over eight hundred hand-authored scenes tightly integrated with pre- and post-conditions, inline variation, and animation choreography. Each scene had to be specific enough to be narratively satisfying but broad enough to cover as wide a possibility space as possible, putting severe limitations on how dialogue could be written.

   Eric Dean Rasmussen - 22.06.2012 - 16:58

3. Adventures in Transition: Jason Nelson’s Scary Journey from Flash to J-Code and Desk to Hand

   Perhaps the most disturbing and exciting periods of a digital poet’s creative practice is the transitional period between using one technology and learning another. For the past eight years I’ve been predominately a user of Adobe Flash. I say user, because in many ways
   the software is a drug, carving response and reward pathways into the cranium fibers. My creations have been the beneficiary of a tool ideal for multi-layered/dimensional and interactive artworks viewable on all major platforms. However, it is this platform issue and Adobe’s losing
   position in its battle with the Tyrant Apple that is quickly making Flash obsolete, unplayable in the fastest growing segment of electronic devices, tablets and phones. This very well might turn around and Flash might save itself. But suffice it to say, the net/portable creative ndustries have left Flash to fend for itself.
   (Source: Author's abstract, 2012 ELO Conference site)

   Eric Dean Rasmussen - 22.06.2012 - 16:59

4. ELO: Theory, Practice, and Activism

   One of several early career participants at the Electronic Literature Organization’s Summer 2012 “Futures” panel, Claire Donato comes down on the side of non-commercial, non-entrepreneurial, educational approaches to an emerging digital literary practice.

   clairedonato - 27.06.2014 - 21:16

5. Convergent Devices, Dissonant Genres: Tracking the “Future” of Electronic Literature on the iPad

   Anastasia Salter’s “Convergent Devices, Dissonant Genres” assesses the implications of the iPad for the state of literature. Looking at “traditional” approaches that re-mediate print for digital devices, “enhanced” approaches which add “special features” to extant texts and forms, pre-tablet eliterature re-experienced in the new environment, and finally the creation of original apps with literary qualities, Salter’s work is a critical document of the impact a single interface can have on the development of literary culture in the 21st Century. (Source: Author's Abstract)

   Anders Gaard - 25.08.2016 - 15:38

6. Dwarven Epitaphs: Procedural Histories in Dwarf Fortress

   Dwarven Epitaphs: Procedural Histories in Dwarf Fortress

   Ana Castello - 09.10.2018 - 13:03

7. Site-Specific Storytelling, Urban Markup, and Mobile Media

   Site-Specific Storytelling, Urban Markup, and Mobile Media was a presentation held by Jason Farman at the ELO 2012 conference under the category: Storytelling With Mobile Media: Locative Tehcnologies and Narrative Practices.

   Ole Samdal - 24.11.2019 - 18:24

8. The Narratological Affordances and Constraints of Mobile Locative Media

   The Narratological Affordances and Constraints of Mobile Locative Media was a presentation held by Jeff Ritchie at the ELO 2012 conference under the category: Storytelling With Mobile Media: Locative Tehcnologies and Narrative Practices.

   Ole Samdal - 24.11.2019 - 18:45

9. The Quinary: Algorithms, Permutation and Slippery Meaning

   The Quinary: Algorithms, Permutation and Slippery Meaning was a presentation held at the 2012 ELO conference under the category: Games, Algorithms, and Processes.

   Ole Samdal - 24.11.2019 - 18:57

10. The Gamer as Reader: A Playthrough of the Text Game Walkthru

    The Gamer as Reader: A Playthrough of the Text Game Walkthru was a presentation held at the 2012 ELO conference under the category: Games, Algorithms and Processes.

    Ole Samdal - 24.11.2019 - 19:18

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