Hypertext, also.

For this blog post again I was just searching the internet, trying to find a work that caught my eye. A google search for, you’d never guess – hypertext poem – turned up an interesting blog that explains a different definition of hypertext.

In class, we had always looked at hypertext as a work broken into pages that were linked together by hyperlinked words within each page of the work. The reader then clicks the links to move from page to page and read the entire work. And that was what I assumed was the only form of hypertext. In a blog from a website Cyberenglish though, the poster Ted Nellen defines hypertext as “poetry that has had hyperlinks embedded into it [to other sites]..they add hyperlinks to the poem to help explain their interpretation of the poem”. Nellen describes this hypertext poems that are written just as a poem on paper, or what he calls a “concrete poem”, but the author then embeds links to pages that are relevant to that part of the poem. The pages include information about allusions the poem may make that the reader must understand in order to understand the poem. Or perhaps other works that have similar meanings, or simply photos of what the poem is referring to. Basically, the links are to any page that would enhance the reader’s enjoyment  or comprehension of the work.

I find this concept of hypertext to be very interesting in the use of it to create more depth to the work and the meaning behind it. There have been several works we looked at in class that had there been links such as these, the work would have made much more sense to me because I was not sure what the author was referring to. In these cases, if I had only had a link to a page defining the word I didn’t recognize or the person alluded to that I’d never heard of, I probably could have appreciated the meaning of the work much more.

Reasons not to talk to angels

When I found “The Fall of the Site of Marsha” by Rob Wittig in volume one of the Electronic Literature Collection, it initially stood out to me because of its visual presentation. It is a hypertext narrative that pretends not to be: instead of clicking links to move between distinctly presented lexia, the reader navigates what appears to be a regular web page, of the type that was common on Geocities or Angelfire in the late 1990s. (This work was written in 1999 and takes place in 1998.) The narrative unfolds over a period of about half a year, and the reader watches this happen by looking at three different archival states of the site and observing the way it changes.

The title character, Marsha, is a 42-year-old woman who was in what seems to be a depressive state until had (something she understood as) an experience with an angel. With the encouragement of her friend Bits and the programming help of her husband Mike, Marsha sets up a cheerful web page dedicated to stories about people’s experiences with angels. After a while, though, she starts to receive messages that are purportedly from angels, including the angel she believes to be her personal guardian. The messages are all incredibly hateful, and the senders seem to know and be capable of things that normal people would not be, which suggests that they are not simply rude people who stumbled upon her site (although that is left to the reader’s interpretation).

The Electronic Literature Collection’s page describes “The Fall of the Site of Marsha” as “a comic tale of domestic discord,” and there are comedic elements – this is a late 90′s web page with lots of cheesy-looking graphics, and it’s about forty-something-year-old women with an interest in new-age magical thought, which can be very humorous to people who don’t share that interest. But I actually found this work to be deeply troubling, and would classify it as more of a horror story than a comedy. While I initially thought the title’s reference to Edgar Allan Poe’s “The Fall of the House of Usher” was entirely ironic, I wound up taking it very seriously. The setting may be farcical compared to the gothic House of Usher, but the fear and despair in this story were genuinely affecting to me, and maybe even more so because the playful setting made me unprepared for that.

Where “The Fall of the Site of Marsha” differs from traditional-literature stories of psychological horror, though, is in the very immediate way the reader experiences it. Even though the site’s format is now archaic, it is identifiable as a personal web page that has been set up to have a social networking component. The reader is familiar with navigating websites, reading the comments people have left on different pages, etc., and this means the experience of navigating this website, which is about fictional people but is not fictional in itself (i.e. it’s a real website with a url and clickable links), is also familiar. This kind of immersion makes Marsha’s story feel real, and at least for me, that allows it to make a strong an emotional impact.

A Matter of Choice

For this blog, I decided to try my hand at Twine since I focused all of my attention on Inform 7 for the creative project. I made a simple hypertext choose your own adventure,  A Matter of Choice. I thought using this program would be more difficult since I hadn’t used it since we learned it in class, but it was very easy to use. I still do not feel up to the challenge of beautifying my projects just yet, though, so I left it in the simple Sugarcane format. I did try the Jonah format first, but I’ve grown so used to the Sugarcane sidebar and dark color scheme that I had to change it. I enjoyed exploring all the different ways a person’s day can change, but next time I work with Twine I will try for more complexity. A lot of the Twine works out there are very impressively complex, especially the ones on the blog from the creative projects. Now that I know I can use the program successfully,  I look forward to doing more with it the next time.

The Story of Orville V. Wright

“The Human Mystery” by Alan Bigelow tells the fictional story of the socially anxious Harvard anthropology professor, Orville V. Wright. “The Human Mystery” does not fall neatly into any genre of electronic literature we’ve discussed, but I would say it’s most similar to hypertext. The story is made up of seven different sections accessed through a timeline menu; the reader drags an arrow along the timeline to select a segment. The sections can be accessed in any order and once finished  disappear from the screen. Each of the seven sections is named after a different stage in human evolution, starting with Prokaryota in the primordial ooze and ending with the Present Day. Every segment has two parts, one giving Professor Wright’s explanation and thoughts on the title organism and a second detailing Wright’s life as an academic and his failed marriage. The surprise end of the story is within a postscript section, I won’t spoil it for anyone.

The layout of every section features a text box on the right with arrows at the bottom allowing the reader to move forward or backward in the text. A large picture, which differs in every section sits on the left at some point throughout the text other images float or flash over this background picture. These can be controlled sometimes by clicking on footnotes in the text. The images that appear generally relate to text, such as the divorce paper that appears when Wright’s divorce is being discussed. Other times the images pop up to highlight an aspect of Wright’s story. The ability to control what text appears on the screen is similar to hypertext fiction’s use of links to move the story forward. In “The Human Mystery” the control is much more straightforward within the sections with only a right arrow to go forward, a left arrow to go backward, and a double human symbol indicating the end/beginning of the subsections. This is different than hypertexts such as Robert Kendall’s “Dispossession“ or Shelley Jackson’s “my body – a Wunderkammer” which have a large amount of narrative permutations depending on the order in which links are clicked. In “The Human Mystery” the sections can be accessed in any order the reader desires, but once inside a section the story is strictly linear, forwards or backwards. Although you can read the sections backwards, I would not advise it because the narrative is forwardly linear.

“The Human Mystery” is very different from the other works I’ve read/watched/experienced by Bigelow, “Brainstrips” (which I wrote about before) and “American Ghosts” (also covered on our blog). “The Human Mystery” can be seen as a dressed up version of a traditional text-only story with moving and still images compared to his other works.  ”Brainstrips” is a multi-genre work combining aspects of comics, hypertext, and kinetic typography. “American Ghosts” is a series of videos with text running along the bottom. Both “Brainstrips” and “American Ghosts” lack the cohesive narrative found in “The Human Mystery.” Instead they focus on the fallibility of human knowledge and the lives of people named after historical figures respectively through several different narratives.

One aspect all of these works share is the inclusion of background music and sounds. In “The Human Mystery” each section has a soundtrack relating to the title organism, for example the section on Homo habilis, an early tool-making hominid features a soundtrack made up of the workshop sounds of hammers and someone sanding. “The Human Mystery” soundtrack sets up a mood for each section that works well with the story, unlike in “Brainstrips” in which I turned off the sound halfway through because it distracted me from the story.

Simple Reality

For my project, I initially had a lot of trouble coming up with ideas. I couldn’t come up with a concept interesting enough to become a game. Eventually I decided to create a hypertext story using Twine. Simple Reality is a simple story based on a short personal free-write about a busy life that many college students juggle. There is no definite form – no well defined poetics or fancy prose – it is just meant to be simple, relatable, realistic, understandable, somewhat interesting. Twine seemed like a good way to give a really simple story some sort of creative depth. After considering various project ideas and platforms, I became most understanding of Twine and it just seemed to be the right choice for me.

Simple Reality html via dropbox.

Elementary Throwback

 

Do you remember those adventure books back in elementary school? Every weekend, without fail, I would go to my local public library and take at least two adventure books. My brother and I would read them over and over, choosing different adventures, getting lost in a world of choices. For my creative project, I choose have a childhood throwback and create my own hypertext adventure in the world of Twine. Though it was frustrating learning the code and fixing links that were not broken but appeared to be when published, I finally created my project. Check it out here.

 

I have never in my life written a word of code, so this was similar to a foreign language for me. After numerous tries, I finally got the background color to change, then placed a background image, and changed the font colors and link colors. There is also an added “choice” code, disabling the second choice to be accesses after a choice is made. This causes a glitch if the reader decides to “rewind” the story. I thought it was important though to disable this option because I wanted to the story to be realistic, and in life you can’t go back and call a do-over. I can now truly say without a doubt that I hate coding, but writing the story was really fun. There were so many paths Tallie could take; it all lied in her decisions. No matter the choices, each story ends in the line, “She had no choice” which is also the title of my project. Some endings are direct, the reader walking away knowing exactly where Tallie stands in the forever present career versus friendship struggle. Others are up for interpretation, allowing the reader even more freedom to form the story.

Blackwater

I used Twine to create my hypertext story “Blackwater.” The story is based on a non-fiction essay I wrote recently, with some new fiction parts added. I used the Jonah format to compliment the story’s theme of navigating complex emotions.

Blackwater

Lucidity

For my creative project, I used to Twine to create a hypertext short story called “Lucidity.” Each page of the story displays a different dream, and each dream contains at least one link to another dream. In reading the story, the reader will likely visit each dream several times before viewing all of them. At the bottom of each dream, however, is the option to wake up. The reader decides how quickly he/she wants to exit the dream sequence. The title of the story, “Lucidity,” refers to both the option to wake up after each dream and also to the nature of the story. Readers learn shortly after the first page that they are also dreamers; therefore, although the story attempts to mimic the feeling of dreaming, readers are aware that the dreams are not reality. Every dream in the story comes from real sleep, whether from mine or from the sleep of my friends.

In creating a hypertext, I found that the most difficult part of the process was coming up with an idea for a story that would work in the hypertext form. Although hypertext can progress chronologically, I wanted my story to rely on not being possible chronologically. In a sense, I wanted to be able to put readers in control of the text more than they perceived, the way one feels when having a lucid dream. Although reading my story can be frustrating because the links do not turn a different color once a page has been visited (which I admit was not a decision I made on purpose), I actually think this enhances the meaning of the story. In order to a realize that an actual dream is not reality, one must pay close attention to elements within the dreamworld that cannot exist in real life, and then make that realization. Many dreamers wake up upon this realization. Others begin lucid dreaming. In reading this story, my hope is that readers will realize that they must pay close attention to the words they have already clicked if they want to avoid visiting the same dream multiple times.

I tried to mimic this concept of the feeling of dreaming and of having lucid dreams as much as I could. The dreams in my story cannot flow chronologically because that’s not how dreams happen in real life. Readers likely visit each dream more than once as they progress through the story, the same way we sometimes weave in and out of the same dreams throughout the night. The concept of lucid dreaming is most powerful in the “Wake up?” option at the bottom of each dream, which always leads to the same response. My conception of this option was that this response, “You wonder why you never remember your dreams anymore,” would work at any point in the story. If the reader thinks the dreams are silly, scary, uncomfortable, boring – anything that makes him want them to stop – he can wake up, but then he must realize that it was his decision to not experience dreaming. If the reader cycles through all of the dreams before choosing to wake up, then he will have read so many overlapping dreams in such quick succession that it will be difficult to remember them all.

My hope is that my project came out as at least intriguing, if not particularly innovative in terms of writing or coding. I did play around with HTML and CSS to change some small details, mainly to make my story look a little bit different from any random story produced in Twine, but I wish I could have done more to make the way the story looks mirror its content and themes. I certainly learned in producing this work that coming up with a story that works as a hypertext is not easy, and that then creating the work is even harder. I quickly realized that although I wanted to write html at first, it’s easy to get lost in the connections and I found myself getting lost in my own story. I’m happy with what I produced though, and I hope others enjoy it as well.

And to conclude, for reference and for hilarious comparison with Wick’s Twine map, here is a screenshot of my own Twine map:

Isn't this what YOUR dreams feel like?

Thinking outside the box

Everytime I sit down to work on something in Inform7, I get this image of myself at my own pannel at ComicCon, answering questions from ravenous fans about my amazing game, “Faction 11″.

I’m using Inform to explore the world of a story I orignially had in mind for a novel. I’ve never written science fiction before, and I needed all of the resources I could get my hands on to try and flesh out my new universe. I’m using Inform to explore the world I’ve created, and using the map function to get a graphic idea of where things are located physically. It’s working kind of brilliantly.

The map function is magnificent in its own right, because I find this method of mapping to be the easiest when planning an Inform story. Plus, it gives me a list of objects in each room, so I can make sure everything is where its supposed to be.

After coding the game, I love getting a chance to play it. The coding and the playing allow me to explore character actions and plot points I may not have thought of before. This method of brainstorming for a story gives me the chance to see what details are necessary when telling a story, expecially when foreshadowing. If I know that a code is needed to enter a room, I know I have to plant the code in the world at some point beforehand, where I know the player will be able to find it. This same logic transfers nicely when I’m writing the story in traditional form, because I get a sense of when I should reveal certain information to the reader. I pretty much love everything about working with Inform.

I plan on creating a game, a hypertext story, and perhaps another electronic medium (twitterature?!) to explore every facet of “Faction 11″. Not only is elit a marvelous tool to use when writing t

Interacting with Tierra de Extraccion

NOTE: The work I’m going to be talking about is in Spanish. I’ve read and translated parts of it, but it is a novel (with 67 chapters), so I decided that instead of writing an analytical blog post, I’d make a video of me interacting with the work and showing the way the author utilizes different media. As the author explains in the excerpt of the abstract provided below, the form of this work is as important as the content.

Excerpt from the abstract provided by Domenico Chiappe:

“The appropriate language for electronic media is yet to be created. Such a language should encompass the whole world of possibilities offered by the electronic environment. The multimedia novel project Tierra de Extracción looks for a language that encourages the reading of literature on a computer monitor. The multimedia writing combines the arts to find the ‘passive interaction’ of the reader–user, whose subconscious will blossom with the music, poetry, photography, drawings, and narration, and mixes it with the story. But this new kind of expression coming from a display that modifies all patterns of perception, interest and time also requires an interface that allows the user’s ‘active interaction’, which means the user will create the story as his or her interest and curiosity grow.”

ALSO: I’m sorry for all of my awkward pauses and um’s. I recorded this about 20 million times and this is the best version I got (it’s harder that I thought it would be to interact with something and talk about it at the same time!). To see the video, click on the link below and it should take you to another page where you can view it (I couldn’t figure out how to embed this filetype).

tierra2