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Beneath Floes
Beneath Floes is a short work of interactive fiction written by Kevin Snow, the creator of Bravemule, with artwork from Patrick Bonaduce and sound from Priscilla White.
Qikiqtaaluk, 1962. The sun falls below the horizon and won't return for months. You wander the broken shoreline, wary of your mother's stories about the qalupalik. Fish woman, stealer of wayward children: she dwells beneath the ice.
(Source: http://bravemule.itch.io/beneathfloes)
Eivind Farestveit - 30.04.2015 - 14:50
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Kaos 3 - Action Poetique 129 130
Kaos était une revue sur ordinateur consacrée à la littérature électronique et produite par la société Kaos, qui la présentait comme carte de voeux. Réalisée par Jean-Pierre Balpe, trois numéros sur disquettes seront ainsi édités entre 1991 et 1993. Ce numéro 3 est sorti en Janvier 1993. La génération automatique de textes est quasi l'oeuvre de Jean-Pierre Balpe dont l'influence a été décisive sur la littérature numérique française des années 1980. Le numéro 3 propose plusieurs générateurs de différents auteurs. (Source: http://imal.org/fr/resurrection/kaos-3-action-poetique-jean-pierre-balpe)
Hannah Ackermans - 04.08.2015 - 15:26
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From Beyond
The installation plays with the boundaries of form and consciousness through play with the material and the immaterial. From Beyond invites the reader to interact with a digitally augmented Ouija Board. The Ouija Board (also known as the “talking board”) is well-explored in popular culture as a device that is traditionally employed in an attempt to communicate with the dead, who are themselves voiceless and thus can be “heard” only through the indication of written letters. The board is thus itself an interface that plays at the boundaries of the real and the presumed supernatural, as it operates through superstition: readers place their fingers on the planchette and it moves to answer questions, with a “Yes” or “No” placed on the board. Likewise, our digitally enhanced Ouija Board invites the user to guide a planchette (a pointer) as a tactile interface for making binary decisions while traversing a hypertextual work on a screen that serves as a lens between the reader’s world and the world of the story.
Hannah Ackermans - 08.09.2015 - 09:45
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Inanimate Alice - Language Learning Journals
A series of interactive journals which follow Alice aged 18 during her gap year. A unique mix of audio, visuals, films and interactive word games.
Andy Campbell - 10.10.2015 - 22:09
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Umbrales
The hypertexts of this project were written by interns from the psychiatric building Emil Kraepelin. These real stories are distributed in four sections: past, future, darkness and light. The genre is hypertext fiction, it is made of hypertextual confessional fragments like Caitlin Fisher's These Waves of Girls (2001) with interactive elements like Belen Gache’s Wordtoys (2006). In the section named “darkness” the mouse is used as a lantern which lights up only parts of the text, a technique also used in Speeches and Poemas (2006) by Félix Rémirez. Yolanda de la Torre organized a literary workshop in which she explored with the patients the therapeutic possibilities of writing. References to God are common in the patients’ confessional texts, a sign of the importance of religion for many Mexican people. The technique of changing the text allows the reader to make up different stories, drawing makes the reader a participant of the story who can draw his/her own future like another patient or character and the audio effects recreate the sounds of a psychiatric hospital making the reader feel as he/she was in the place the patients were.
Maya Zalbidea - 08.01.2016 - 20:33
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Quing's Quest VII
Dietrich Squinkifer’s (aka Squinky) Quing’s Quest VII: The Death of Videogames was created for Ruin Jam 2014, a game jam inspired by tensions over the identity of games and gamers and particularly responding to accusations that feminists and advocates for diversity in games had set out to “ruin” the games industry. Quing’s Quest is built in Twine and takes inspiration from old-school adventure games, including Sierra’s King’s Quest series. The game takes place on a craft called the “Social Justice Warrior” (after a commonly-used pejorative term for those who point out misogyny, racism, transphobia and many other forms of discrimination and hatred online and in gaming culture), and features a character exiled from Videogames after the invasion of the “misogynerds.” This work captures the tension of a historical moment in which only some voices, games and critiques are heard and others are silenced and dismissed. (Source: ELC 3's Editorial Statement)
Erik Aasen - 30.08.2016 - 16:02
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Digital: A Love Story
A computer mystery/romance set five minutes into the future of 1988. I can guarantee at least ONE of the following is a real feature: discover a vast conspiracy lurking on the internet, save the world by exploiting a buffer overflow, get away with telephone fraud, or hack the Gibson! Which one? You'll just have to dial in and see. Welcome to the 20th Century.
(Source: Authors's statement, ELC3)
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Christine Love’s Digital: A Love Story is a visual novel set “five-minutes into the future of 1988” and invites the player back into the early days of the Internet through the interface of an Amiga-esque computer. The graphical interface of white text on a blue background accompanies the metaphor of the local BBS (bulletin board system) as a happening space for conspiracy and flirting. All the core interaction takes place through dialing into this system, which has multiple characters and threads that can be explored through sending out replies to advance the story. The work is strongly grounded in early hacker culture and William Gibsen-inspired models of artificial intelligence.
Scott Rettberg - 01.09.2016 - 15:36
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Gaffe / Stutter
This multimedia work uses HTML5 and the JQuery library to produce a simple yet effective interface for it to unfold. The physical space between the sliding words GAFFE and STUTTER echo the Deleuzian dualities between the physicality of the mouth and its ability to break down and ingest food and produce language and meaning. Trettien uses this interface to establish other dualities in her poem: code and displayed language, signal and noise, drawing and writing, and more. (ELC 3)
Daniela Côrtes Maduro - 06.09.2016 - 17:34
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First Draft of the Revolution
Emily Short’s First Draft of the Revolution, designed and coded by Liza Daly, is an experiment with advancing the form of interactive fiction while pushing forward its cross platform accessibility (the work is built in HTML5 and has been ported to EPUB3, an open ebook format). The work invites the reader to engage in the act of writing, creating a metafiction that invites us to contemplate the very act of letter-writing and correspondence, and what the process of editing reveals and conceals. The work is essentially an interactive epistolary novel, drawing on an era when letter-writing was an act of contemplation rather than haste. We learn about the two characters (Juliette and Henry) as we get inside their heads and dictate the seemingly mundane details of their correspondence. (Source: ELC 3)
Sondre Skollevoll - 08.09.2016 - 03:43
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The Hunt For The Gay Planet
anna anthropy’s The Hunt for the Gay Planet is a text-based Twine game that uses the medium of Twine to comment more broadly and bitingly on the status of queer representation in videogames. The work takes its premise from a mainstream online roleplaying game, Bioware’s Star Wars: The Old Republic, which in 2013 announced they were expanding their romance options in-game to include homosexual options, but only on a single planet in the galaxy. anthropy satirizes this decision with this beautifully retro piece, in which the player is invited to gradually explore the galaxy (looking under rocks and in caves) in search of a lesbian romance. The game serves as a powerful example of Twine’s potential as a platform for commenting on and engaging with AAA gaming, as Twine builds on the traditions of hypertext to allow for complex decision management and choice-driven experience design. (Source: ELC 3's Editorial Statement)
Erik Aasen - 08.09.2016 - 13:46
