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1. Forms of Future

   Forms of Future

   Eric Dean Rasmussen - 01.05.2012 - 09:29

2. Interactive Fiction

   Interactive Fiction

   Eric Dean Rasmussen - 09.05.2012 - 08:58

3. 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

4. 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

5. 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

6. 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

7. IF Demo Fair, PAX East

   (Announcement): 

   Do you have a vision of the (or a) future of interactive fiction that you would like to share with interested players, authors, implementers and theorists?

   The IF Demo Fair will be running during PAX East (Boston, March 11-13), showcasing new and interesting demonstrations in the IF world.

   These don’t need to be polished, complete games, just pieces that show off your concept. We’re particularly interested in demonstrations that explore one of our themes:

   • novel ways to interact with in-game characters
   • innovative user interfaces for text/story-based games

   But if you have a great idea that doesn’t match either of these themes, send it anyway! We welcome any demonstration that can reasonably be construed as relating to interactive fiction and storytelling: traditional parser-based IF, works with multimedia and graphical components, choose-your-own-adventure, or interactive poetry.

   Aaron Reed - 20.06.2012 - 19:42

8. From Reality to Interactive Fiction and the Way Back

   From Reality to Interactive Fiction and the Way Back

   Eric Dean Rasmussen - 22.06.2012 - 16:44

9. 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

10. DAC 2000: A Choose-Your-Own-Trip-Report!

    You are sitting in front of a computer, ready to read about Digital Arts and Culture 2000, a conference held in Bergen, Norway on 2-4 August 2000. If you click, you'll see some comments on that conference from interactive fiction and hypertext author Nick Montfort.

    Jill Walker Rettberg - 09.10.2012 - 22:58

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