Tag: narrative

Espen Aarseth foresees the quick end of Murray's "story-game hybrid" and suggests instead a "critical theory of games."

Pat Harrigan and Noah Wardrip-Fruin introduce Cyberdrama, the first section of First Person.

Ken Perlin on a game-narrative difference that makes a difference: does agency, rather than identifiction, make characters in a game seem more real than those in novels or films?

hypertext? cybertext? hypermedia? webart? while new media critics debate the terms, Talan Memmott has produced the thing itself, a creative use of applied technology.

Regarding a monumental work on race, time, and classical music that does not lose sight of individual, localized lives.

Bringing the queston of 'textuality' into the cyberdebates, and refusing the conservative oppostion between contemplative reading and gaming, Daniel Punday argues that critics should embrace spinoff culture as a model for electronic writing.

Considering hypertext as a subset of cybertexts, Markku Eskelinen offers seven examples of how to implement Espen Aarseth's seven-fold typology.

Harold Jaffe offers a narrative model for the millenium.

Against the notion that music is the most abstract of art forms, Olivia Block thinks of music as a language with its own vocabulary of sounds, patterns, rhythms, notes. On the day of a performance in Kyoto, Japan, these reflections alter Block's sense of her own language, English, deconstructed by Japanese advertisements, tee-shirts, "American" candy-bar wrappers, and text-cell phones.