Some later Hypertext works

  • Stefan Maskiewicz, Quadrego (2001)
  • By Mark C Marino
    • Marginalia in the Library of Babel (2007) – “Marginalia in the Library of Babel” presents a metafictional, metahypertextual narrative about one man’s discovery of his ability to write in the margins of the Internet, to finally make his marks on the infinite network, marks that will ultimately lead to his erasure. The piece is written through annotations written upon web pages archived from the Internet all related to Borges and the many implementations of his work, partial and abandoned though they be, that litter the Internet. (Source: Author’s description)A Show of Hands (2008) – a show of hands is an electronic narrative. The story customizes itself around your reading, using an adaptive hypertext system called Literatronic. There are two versions of the tale: an excerpt entitled “a little show of hands” (Hypperhiz 2008) and the full novella (in-progress).
  • 10:01 by Lance Olsen and Tim Guthrie (2005)
  • Will Luers, Hazel Smith, and Roger Dean’s Novelling (you can read it here) It was the winner of the ELO’s Robert Coover Award for a Work of Electronic Literature in 2018. Short bio from here: Published by New Binary Press, novelling is a recombinant digital novel about fiction itself, and how we read and how we write it. Though novelling unfolds through the perspective of four characters—a familiar narrative technique—by procedurally remixing audio, video, and text, novelling ultimately challenges our expectations of fiction, not to mention authorship itself
  •  Depression Quest by Zoe Quinn, Patrick Lindsay & Isaac Schankler (Twine) – Depression Quest is an interactive fiction game where you play as someone living with depression. You are given a series of everyday life events and have to attempt to manage your illness, relationships, job, and possible treatment. This game aims to show other sufferers of depression that they are not alone in their feelings, and to illustrate to people who may not understand the illness the depths of what it can do to people. — THIS NEW YORKER ARTICLE
  • c ya laterrrr by danhettc ya laterrrr is a hypertext game based on a real experience. In May 2017 my younger brother was one of the 22 people killed in the Manchester Arena terrorist attack. This game expresses some of the experience, along with exploring some of the what-ifs of choices I ultimately didn’t make. All identifying information is removed, there are no names or locations specified anywhere. There are many choices within this game, and one of the many possible pathways does reflect my actual experience. This isn’t marked or confirmed anywhere, and all pathways ultimately lead to the same endpoint.
  • Robert Kendall’s Clues (2001–2008) – There’s a whole section on it in Astrid Ensslin’s Literary Gaming: She describes it as, “A striking case of literary play dominated by figurative agon (contest, or “cooperative conflict,” between author and reader; see Hutchinson 1983, 1; Detweiler 1976) is Robert Kendall’s poetic hypertext detective fiction Clues (2001– 2008). It sends its readers on a mystery quest, which audio-visually suggests a standard noir detective thriller. Yet the text itself turns out to be a largely self-reflexive, metafictional piece of nonlinear writing focusing on its own textuality and the reader’s interaction with it.”

“Anna says, “is that mainstream games are really depersonalised. They don’t really tell us a lot about the human condition. I mean, they can tell us about a small slice of the human condition, which is shooting aliens in the face… Or shooting other people in the face. But really I don’t… even in that area I feel like they don’t really tell us that much. I think that what I want to see more of in games is the personal – games that speak to me as a human being, that are relatable, which is the opposite of the big publisher games that I see. People who are creating personal games aren’t hundred-person teams, they are people working at home, making games with free software of their own experiences.” (QUOTE FROM THAT GUARDIAN ARTICLE ON TWINE)

  • Gavin Inglis’ Hana FeelsShort description from here: ‘ Something is bothering Hana. Can you work out what it is? Take the part of four important people in her life and guide their conversations. After each scene, peek at Hana’s journal and find out how she felt about the things you said.’ In a blog post about Hana Fells, creator Gavin Inglis wrote: “There has to be a reason to put interactivity into a story. In this case, I thought about how awkward people feel when they have conversations outside their comfort zone. And talking to a friend or family member about their self-harm certainly falls outside the comfort zone for most people.”
  • Kevin Snow’s The Domovoi
  • TOC – A New Media Novel – You’ve never experienced a novel like this. TOC is a multimedia epic about time: the invention of the second, the beating of a heart, the story of humans connecting through time to each other and to the world. An evocative fairy tale with a steampunk heart, TOC is a breath-taking visual novel, an assemblage of text, film, music, photography, the spoken word, animation, and painting. Available as an app

Re Twine see Merritt Kopa’s Videogames for Humans: Twine Authors in Conversation. Here’s a 2013 Guardian article about Twine . And Anna Anthropy’s Rise of the Videogame Zinesters: How Freaks, Normals, Amateurs, Artists, Dreamers, Drop-outs, Queers, Housewives, and People Like You Are Taking Back an Art Form

SOME OTHER STUFF

Whitney Trettien’s Gaffe / Stutter Gaffe/Stutter is a dead letter to Deleuze’s Logic of Sense. It began as an elaborate plan for a diagrammatic digital rendition of the book. When this plan collapsed under the weight of the author’s ambitions, its rubble became the basis for a new project – one that did not treat the networked web as the telos of Deleuze’s text but rather traversed the nuanced threshold between print and digital forms. The result is Gaffe/Stutter, a website and chapbook that, together, explore the shifting horizon of interpretation that divides reading from writing, process from product, and playful reaction from academic protraction.

Paul Youngquist – Techno-Prosthetic Romantic Futurism (2006) — MOVE TO OTHER SECTION

Although most of them are generally less expansive than earlier works of hypertext fiction.

Past Winners of Robert Coover award

Blue Lacuna – Not sure if this one should rightly be called a hypertext, cause I can’t seem to make it work on my system. Here’s a description –  Epic, Novel, and Game Reed’s Blue Lacuna (2008) is an “interactive novel” of epic dimensions that blends novelistic and ludic-mechanic features into a coherent, emotive, and suspenseful reading/playing experience. According to its online blurb, it is “an explorable story in the tradition of interactive fiction and text adventures. It’s a novel about discovery, loss, and choice. It’s a game about words and emotions, not guns” (emphasis mine). Thus, its mission statement explicates the author’s ambition to present the IF’s interactors. (Ensslin, Astrid. Literary Gaming, MIT Press, 2014.)

–   Underbelly

ELO Collections:

http://www.secrettechnology.com/death/deathspin.htm

The Electronic Literature Directory

Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) database

Visionary Landscapes: The Electronic Literature Organization 2008 Conference

Interrupt,

Electronic Literature in Europe

  • Loss of Grasp a trilingual online Flash fiction by Serge Bouchardon and Vincent Volckaert.

Drunken Boat

Iowa Review Web

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