We see that in interactive literature, the danger lies less in interactivity as such, but rather in the simultaneity of heterogeneous input it allows. As “strata-poetics” has taught us our reading experience is always an intensely interactive one. We contribute more to it than we aware of. More precisely: the characteristic experience of literature (especially of poesy) is not possible without intense interactivity between author and reader. It is the simultaneity of various heterogeneous and often contradictory reader-contributions, not inspired by the work itself but by the willfulness of the “readers”, which cast the “Internet Story” in doubt as a valid literary genre.
Table of Contents
Introduction
Precursors
First Attempts at Defining Interactive Novels
Choice and Ambiguity ?
New Criteria of Evaluation
Interactive “Developmental Novels” ?
Interactive Fiction and Deconstructionalism
Interactivity and Simultaneity in Music and the Other Arts
Notes
Appendix
Hyperfiction - Interactive Novel : First Definitions and Descriptions
Texts in Favor of Interactive Fiction:
I.
II.
III
IV
V.
VI.
VII.
VIII
IX.
X
XI
Critical Voices:
XII
XIII
XIV
Objectives and Topics
This work explores the aesthetic and structural nature of interactive fiction, specifically examining whether such formats can achieve the status of significant literary art. The core research question addresses whether the interactivity inherent in hyperfiction and interactive novels fundamentally changes the reader's relationship to narrative structure, authorial intent, and psychological satisfaction compared to traditional literature.
- The differentiation between internet-based stories and completed interactive novels.
- A critical analysis of the relationship between hyperfiction and deconstructionist theory.
- The evaluation of traditional narrative criteria, such as character development and plot, within an interactive digital environment.
- The problematic nature of simultaneity and choice in interactive media compared to focused artistic reception.
Excerpt from the Book
Interactive “Developmental Novels” ?
If we assume that there can be two kinds of suspense in a novel, a “short-term” one (What is going to happen next? How is this conflict going to be resolved? Is the hero going to be saved?) and a “long-term” one (What is going to become of the hero? How will he develop?), the latter is impossible in interactive fiction, because the readers themselves determine the characters’ fate. They can let the figures survive or die. Therefore, attention is narrowed down to the next episode. The whole of human fate disappears from the reader’s vision.
Developmental -, Educational - and Apprenticeship Novels (all sub-groups of “Figurenroman”) are unthinkable in the interactive genre. The latter seems to be eminently qualified for action- and especially adventure novels, in which the central figures remain comparatively pale.
Summary of Chapters
Introduction: This chapter defines the core concepts of hyperfiction and interactive novels while establishing the distinction between reader-contributed internet stories and pre-authored interactive works.
Precursors: The text identifies historical instances of alternative plotting and non-linear narrative devices that serve as the conceptual forerunners to hypertext.
First Attempts at Defining Interactive Novels: This section compiles characteristics of hyperfiction, analyzing the technical and structural shifts away from linear narrative flow.
Choice and Ambiguity ?: The author explores the difference between the profound ambiguity found in traditional literature and the forced, mechanical choices offered in interactive media.
New Criteria of Evaluation: This chapter discusses the need for new aesthetic standards to assess plot structures that rely on user-driven choices rather than authorial guidance.
Interactive “Developmental Novels” ?: The analysis argues that long-term character development is incompatible with interactive fiction, relegating the genre to simpler action or adventure structures.
Interactive Fiction and Deconstructionalism: The author draws parallels between the interactive nature of hyperfiction and deconstructionist philosophy, critiquing both for their tendency toward playful irresponsibility.
Interactivity and Simultaneity in Music and the Other Arts: This section extends the analysis to other art forms, concluding that genuine simultaneity in perception is largely an illusion that contradicts the human need for focused attention.
Notes: Provides detailed citations and contextual references for the arguments presented throughout the text.
Appendix: A compilation of definitions and critical voices from various theorists regarding the potential and limitations of hyperfiction.
Keywords
Hyperfiction, Interactive Novels, Hypertext, Deconstructionalism, Narrative Structure, Authorial Intent, Interactivity, Simultaneity, Literary Theory, Digital Media, Plot Alternatives, Reader Participation, Developmental Novels, Aesthetic Evaluation, Electronic Literature.
Frequently Asked Questions
What is the primary focus of this work?
The work investigates the aesthetic and artistic validity of interactive fiction and hyperfiction, exploring whether these new digital formats can compete with traditional literary masterpieces.
What are the central themes discussed?
Key themes include the impact of non-linear structures on narrative, the role of the author vs. the user, the psychological needs of readers, and the relationship between deconstructionist theory and interactive text.
What is the main research question?
The study asks whether interactive fiction can ever achieve the status of great art, given its inherent tendency to fragment narrative structure and diminish the role of the omniscient author.
Which scientific methods are employed?
The author employs a comparative literary analysis, utilizing concepts from traditional aesthetics, phenomenology (Ingarden), and post-structuralist theory to evaluate the structural integrity of digital narratives.
What topics are covered in the main section?
The main sections cover the technical and narrative definitions of interactive novels, the critique of reader choice, the incompatibility of character-driven development with interactivity, and the problematic nature of simultaneity in digital art.
Which keywords characterize the work?
The work is defined by concepts such as Hyperfiction, Interactivity, Narrative Structure, Deconstructionalism, and the shift from "linear" reading to "networked" reading.
How does the author view the "co-authoring" of the reader?
The author argues that the reader is not a true co-author but rather a recipient with limited choices, asserting that anyone claiming to be a "co-author" in interactive literature is largely deceiving themselves.
What does the author conclude about the "Internet Story"?
The author remains skeptical of the "Internet Story" as a valid literary genre, noting that while it allows for collaboration, it often lacks the coherent structure required for high artistic achievement.
- Quote paper
- Dr. Wolfgang Ruttkowski (Author), 1997, Interactive Fiction: What Does it Want to Be, What Can it Be?, Munich, GRIN Verlag, https://www.grin.com/document/7574
