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1. From (W)reader to Breather: Cybertextual De-intentionalization and Kate Pullinger's Breathing Wall

   From (W)reader to Breather: Cybertextual De-intentionalization and Kate Pullinger's Breathing Wall

   Eric Dean Rasmussen - 08.04.2012 - 09:30

2. 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

3. Narrative and the Split Condition of Digital Textuality

   With computer games and avant-garde literary experiments, digital textuality has conquered
   both mass audiences and academic readers interested in theorizing digital art, but
   it has not yet reached the middle of the cultural spectrum, namely the educated public
   who reads primarily for pleasure, but is capable of artistic discrimination. This essay
   explores the possibility of curing this split condition by strengthening the narrativity of
   digital texts. After examining the conception of narrative that prevails at both ends of the
   spectrum, I investigate three types of interactive narrative that have been able to reach
   beyond the traditional audience of computer games and experimental literature: embedded
   stories, represented by Myst and mystery-solving games, emergent stories, represented
   by The Sims, and texts with a somewhat prescripted, but variable story, represented
   by Façade, Michael Mateas and Andrew Stern’s project in interactive drama. For each type
   of text, I suggest how to make the structure more appealing to a reader who engages

   Helene Helgeland - 01.09.2012 - 16:56

4. Event-Sequences, Plots and Narration in Computer Games

   Opening with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games that has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and the sequence of events understood as a plot, that is as a sequence of (chronologically) ordered and causally linked events. This kind of narrative is quite remote from the proto- typical narrative serving as a source for most narratological considerations. All media and not only computer games therefore actually need their own narratology.

    Source: author's abstract

   Kristine Turøy - 06.09.2012 - 18:55

5. Conclusion: Whither American Fiction?

   Conclusion: Whither American Fiction?

   Eric Dean Rasmussen - 30.10.2012 - 22:14

6. Constructs of the Interactive Documentary Image in Inside/Outside, The Unknown Territories Project, and Estuary

   This paper introduces three original works that use features of interactive documentary arts to explore social constructions of places and their attending narratives. The three interactive projects that are introduced are Inside/Outside, The Unknown Territories Project, and Estuary. The paper asks how tools of layering, compositing and navigation through documentary imagery in photography and film contribute to an understanding of the connection between social relationships and a sense of space.

   Scott Rettberg - 24.06.2013 - 16:32

7. Collaborative Narrative

   Brief entry on collaborative narrative situating collaboration in hypertext and online writing contexts.

   Collaboratively written narratives are not specific to new media: a number of works within the Western cultural and literary canon, for example the epics of Homer, the Judeo-Christian Bible, and Beowulf, are believed to have been developed through collaborative storytelling and writing processes. It can however be said that collaborative writing practices are more prevalent in contemporary digital media than in print.

   Electronic literature authors most often write within software platforms that are themselves “authored”—every time someone opens up Photoshop, or Flash, they are reminded of the long list of developers who actually wrote the software. So even making use of a particular application is a type of collaboration. There is a greater degree of transparency to the collective efforts involved in digital media production than to traditional literary production.

   (Source: Author's introduction)

   Scott Rettberg - 01.11.2013 - 11:53

8. Connections and Coincidences in The End: Death in Seven Colors: A Conversation with David Clark

   Connections and Coincidences in The End: Death in Seven Colors: A Conversation with David Clark

   Scott Rettberg - 30.01.2020 - 14:36

9. GRIOT's Tales of Haints and Seraphs: A Computational Narrative Generation System

   D. Fox Harrell considers what is computational about composition, and describes the GRIOT system for generating literary texts.

   The source is the essay-review on www.electronicbookreview.com written by D. Fox Harrell

   Kristina Igliukaite - 15.05.2020 - 13:21

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