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1. Mythologies of Landforms and Little Girls

   When I began writing Mythologies in 1995 I was thinking about gender in language and, informed by a poststructuralist feminist critique of the representation of the female body as landscape, I set out to explode these stereotypes by using over-the-top geological metaphors. I wanted to convey a moment of realization, when a number of ideas come together at once. It mattered little to me what order the ideas came in, only that they came together in the end. The narrative structure of this non-linear HTML version was influenced by the Choose Your Own Adventure books. The interface was based on the placemats you get at many restaurants in Nova Scotia, which depict a map of Nova Scotia surrounded by icons of purported interest to tourists: lobsters, whales, lighthouses, beaches and the Bluenose. The found images and texts came from a geology course I took in university, a civil engineering manual from the 1920s and a random assortment of textbooks found in used bookstores. The deadpan technical descriptions of dikes, groins and mattress work add perverse sexual overtones to the otherwise quite chaste first-person narrative.

   J. R. Carpenter - 28.01.2012 - 23:17

2. The Princess Murderer

   "'The Princess Murderer,' a Flash fiction, was originally published in the Iowa Web Review in 2003 and deals with a number of formal and thematic issues that are of interest to scholars of digital fiction. Due to its satirical approach to intertextuality, it may be referenced as both a hypertext in the Genettian sense of being based on an earlier hypo-text (Charles Perrault's 'La Barbe bleue,' or 'Bluebeard') and a piece of fan fiction. Its distinctly ludic character is thematized and problematized by references to the fatal repercussions of clicking (clicking equals killing princesses) and by the tongue-in-cheek subversion of stereotypical melodramatic game endings (having to save the princess, but what if there are too many of them all of a sudden?). Of further analytical interest are, for instance, the text's focus on gender/pornography and technology, on Gothic fiction and media, and its multimodality (you need sound to read it)."

    

   Source: Electronic Literature Directory

   Scott Rettberg - 16.06.2012 - 00:45

3. Bare Bones

   Fairy tales have been hijacked throughout history for various uses. Emigrating from one distribution method to another, they have been duplicated, mistranslated, and subverted. It could be that Cinderella is the world's most-told tale. There are thousands of versions, each one colored by the details of local culture, the needs of its audience and the desires of its teller. Buried among the world's heap of Cinder tales, is the Russian version, in its multiple incarnations. Bare Bones is a retelling of this story about a girl and her encounter with the fearsome hag, Baba Yaga.

   We identify with this tale through our own experiences of loss, humiliation and enslavement. By reshaping its text, imagery and format, I try to build a bridge for the fairy tale audience between traditional media and digital media. Bare Bones is just one piece of The Vas(i)lisa Project which is more visually and texually complex.

   (Source: 2002 State of the Arts gallery)

   Scott Rettberg - 14.01.2013 - 00:24

4. Here Comes Her Man

   Leveraging the Curveship-js system for automatic narrative variation (version 0.2) to regen~d~erate the lyrics of the second cut off The Velvet Underground’s debut album, after adjusting the street value of heroin on an annualized inflation rate, I then coded this updated and enumerated content into BBC BASIC II (1982) and emulated all that output as a series of twenty-something decidedly non-vector formats—subsequently renamed à la a Pixies tune 22 years removed from the late Lewis Allan Reed‘s original.

   Lucila Mayol Pohl - 08.10.2020 - 16:15