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1. The Compelling Charm of Numbers: Writing for and thru the Network of Data

   In postmodern times writing is different. With Facebook the personal diary has returned, reformulated for the 21st century. But this is not the diary as we use to know it. Here time gains a persistence and epistemological import and the person or persons recorded shift from being narrator to the quantified subject. This is not only a philosophical or psychological issue but also an economic and political one.

   Elisabeth Nesheim - 27.08.2012 - 13:27

2. 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

3. 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

4. Narration, Intrigue, and Reader Positioning in Electronic Narratives

   Argues that we still have very poor language for discussing the place of the reader in electronic—or computer-mediated—narratives, and that little work has been done to evaluate the relevance of core narratological concepts like narrator, narratee, and implied reader as tools to describe the process of reader positioning in electronic narratives. The author sees Aarseth's analysis of interactive fiction in terms of an intrigue, with an intriguee and an intrigant as one of the most sophisticated analyses of the reader's position in electronic writing, and extends this model.

   Jill Walker Rettberg - 16.09.2012 - 20:16

5. Focalization and Digital Fiction

   Focalization and Digital Fiction

   Eric Dean Rasmussen - 24.09.2012 - 07:23

6. The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore

   "The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore", by J. R. Carpenter, reflects upon The Broadside of a Yarn, a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with nought but a QR code reader and a hand-made print map of dubious accuracy. The Broadside of a Yarn was commissioned by ELMCIP for Remediating the Social, an exhibition which took place at Inspace, Edinburgh, 1-17 November 2012. The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signified that it was intended to be performed.

   J. R. Carpenter - 16.10.2012 - 14:52

7. Conclusion: Whither American Fiction?

   Conclusion: Whither American Fiction?

   Eric Dean Rasmussen - 30.10.2012 - 22:14

8. Creating Interactive Fiction with Inform 7

   CREATING INTERACTIVE FICTION WITH INFORM 7 is a jargon-free, step-by-step guide to mastering the basics of creating dynamic, text-based story worlds. Inform 7 is a free multiplatform interactive fiction authoring environment that uses an intuitive natural language syntax. A tool focused on writers, not programmers, Inform allows users construct complex, rich storytelling worlds by writing sentences as simple as "Tom is a person," or as complicated as "Instead of attacking Tom when something lethal is held, now every nearby watchdog owned by Tom hates the player." No prior programming experience is required. Throughout the book, readers develop a full-length, release-quality example game, exploring the real-world issues involved in authoring participatory narratives and gaining skills that can be applied to the creation of future games and stories.

   (Publisher's copy)

   Scott Rettberg - 09.01.2013 - 00:14

9. (R)Evolutionary Communication: Defining and Refining Digital Literature, Art and Storytelling

   As an educator as well as Director of Digital Media Studies at the University of Detroit Mercy, my pedagogical and personal interests lie in how to use media to incorporate inter-disciplinary studies; to use sound, images as well as visual and narrative compositions to communicate multi-dimensional ideas, passions and concepts. In relation to this inter-disciplinary approach, I incorporate the concept of "mixing" to weave together space, design, technology, story-telling and critical discourse. One of the concepts I try to reinforce is that 'space' includes the psychological as well as the physical. In addition, I teach digital media students that "design" is the intentional approach to choreograph the experiential and that digital technology is a tool for exploring these ideas. Accepting this, I challenge the students to consider: how does the user/viewer experience and process the interaction between digital media and the "narrative" of the everyday? 

   Scott Rettberg - 09.01.2013 - 14:35

10. The Machinimatic Moment

    "The Machinimatic Moment" discusses a type of filmmaking that uses videogame engines (commonly referred to as machinima). I contend machinima exists within a liminal space between a number of diapoles including: production/consumption, play/cognition, and synthesis/critique. While much of machinima can be considered self-referential in that it consistently remarks upon the game itself and, in many ways, its limitations, other productions reveal sophisticated, compelling stories that are neither game nor traditional filmic narrative. I conclude by arguing that its liminality gives machinima distinctive and interesting qualities.

    (Source: Author's abstract, 2008 ELO Conference)

    Scott Rettberg - 09.01.2013 - 14:41

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