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1. Reality Is Broken: Why Games Make Us Better and How They Can Change the World

   Reality Is Broken: Why Games Make Us Better and How They Can Change the World

   Scott Rettberg - 25.06.2013 - 14:44

2. Towards a Poetics of Virtual Worlds. Multiuser Textuality and the Emergence of Story

   Towards a Poetics of Virtual Worlds. Multiuser Textuality and the Emergence of Story

   Scott Rettberg - 26.06.2013 - 11:26

3. Minecrafted Meaning: The Rhetoric of Poetry in Game Environments

   This essay is a synopsis of my fourth chapter from my dissertation. My research consists of game-poems and how they fundamentally alter the experience of “reading” poetry. Ultimately, my argument is that poetic experience is no longer initiated by text, but by the kinetic, audible, visual, and tactile functions in the digital environment that I label as trans-medial space; in effect, these functions sustain the poetry experience, and, thus, require the reader/user of the poem to play, rather than read, as a new form of “reading” the digital game-poem in order experience and interpret a poem’s meaning.

   Jill Walker Rettberg - 28.06.2013 - 09:05

4. Towards the Recognition of the Shell as an Integral Part of the Digital Text

   Although the theory of hypertext fiction does not regard the Shell as a text, writers of digital fiction, have long started to blurr the boundaries between the Reader and the “main” text. Both interpreters of (fictional) hypertexts and pt-ogrammers of hypertext-environments need to acknowledge this fact in order to accomodate current wrltlng practices.

   Jill Walker Rettberg - 28.06.2013 - 14:44

5. Cybertext: Perspectives on Ergodic literature

   The influential book that introduced the terms cybertext and ergodic literature was first written as a PhD dissertation. See the entry for the book for details and references.

   Jill Walker Rettberg - 29.06.2013 - 21:35

6. Ce livre qui n'en est pas un: le texte littéraire électronique

   Un texte littéraire électronique est écrit en code et ne peut exister sous forme imprimée. C’est une forme spécifique qui existe depuis la création dans les années 1970 des jeux d’aventures textuels (Willie Crowther et Don Woods, Adventure). Elle s’est développée de par l’exploitation de liens hypertextuels (Shelley Jackson, Patchwork Girl), d’éléments hypermédias, et s’oriente à présent vers la sophistication croissante des moyens mis en œuvre pour que le lecteur participe à la création de l’œuvre (Stuart Moulthrop, Pax). Le rapport entre jeux et textes reste très fort, au point que certains arguent que les jeux d’ordinateur actuels sont des œuvres littéraires électroniques. La forme est hantée par la fragilité de ses supports, et son économie semble reposer sur la gratuité.

   Jill Walker Rettberg - 02.07.2013 - 15:10

7. Genre Trouble: Narrativism and the Art of Simulation

   Currently in game and digital culture studies, a controversy rages over the relevance of narratology for game aesthetics. One side argues that computer games are media for telling stories, while the opposing side claims that stories and games are different structures that are in effect doing opposite things. One crucial aspect of this debate is whether games can be said to be "texts," and thereby subject to a textual-hermeneutic approach. Here we find the political question of genre at play: the fight over the games' generic categorization is a fight for academic influence over what is perhaps the dominant contemporary form of cultural expression. After forty years of fairly quiet evolution, the cultural genre of computer games is finally recognized as a large-scale social and aesthetic phenomenon to be taken seriously. In the last few years, games have gone from media non grata to a recognized field of great scholarly potential, a place for academic expansion and recognition.

   Scott Rettberg - 09.07.2013 - 00:24

8. Limbo and the Edge of the Literary

   Limbo, released in 2010, is a puzzle platformer that features a player character who awakes in Limbo, on the edge of hell. He must traverse a world of bear traps, giant killer spiders, and spinning gears. As with any game, the player of Limbo will necessarily fail while solving the game’s puzzles; however, this game makes those failures especially painful. The player character is decapitated, impaled, and dismembered as the player attempts to solve each puzzle. The game’s monochromatic artwork, its vague storyline, and these gruesome deaths meant that Limbo, predictably, found its way into various “games as art” conversations. However, this presentation asks whether Limbo can serve as a different kind of boundary object. Given its complete lack of text and its minimalist approach to storytelling, what is the status of Limbo as a literary object?

   Stig Andreassen - 25.09.2013 - 14:31

9. QUAKE-ING IN MY BOOTS: <EXAMINING> >CLAN:COMMUNITY< CONSTRUCTION IN AN ONLINE GAMER POPULATION

   This essay takes us into the bloody world of Quake, an online multi-player game, where we discover a thriving virtual community. Breeze also investigates what happens when members of this virtual community go offline in Wollongong, Australia.

   mez breeze - 06.05.2014 - 08:54

10. Literary Gaming

    In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology.

    Astrid Ensslin - 08.06.2014 - 16:57

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