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Researchers archive at WRT: Writer Response Theory

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As a practice, we don’t announce talks at WRT, but this one presents an interesting convergence, a kind of crossover episode where the IF League meets the X-Bots meets the Game Squad in one of those moments of academic alliance: But who are we fighting against?

Second Person: An evening on writing and gameplay

6-8pm, April 4, 2007,
as part of Scott Fisher’s CTIN 511
USC’s Robert Zemeckis Center for Digital Arts (RZC),
Room 201 Zemeckis Media Lab (ZML)

[This talk is not open to the public, but we will blog about it afterwards. The hosts can answer inquiries about access.]

As part of the LA book launch for Second Person, Role-Playing and Story in Games and Playable Media (MIT Press 2007) several of the contributors and one of the editors will be speaking at USC to one of the Masters classes in interactive media. Editor, artist, and scholar Noah Wardrip-Fruin will present the collection joined by WRT’s Jeremy Douglass and Mark Marino and renown video-game creator Jordan Mechner.

The talk marks one of the first public launch stops for Second Person on the West Coast but more importantly marks an important presentation of a few of the many topics in the collection, namely mainstream video games, interactive fiction, and conversational agents. Of course, these topics leave out the table top games, the interactive dramas, et cetera. What you realize from considering this list is just how varied the objects of study in Second Person are, though the menagerie does make a coherent zoological exhibition.


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Much has been made of the viral outbreak of Michael Wesch’s “Web 2.0…The Machine is Us/ing Us” (first noticed on Frank Gruber’s Somewhat Frank) Some of the reactions, including my initial one, have suggested that the piece is overly optimistic. However, we should not let the pulsing soundtrack, speed, and magically moving text and images distract us to miss his playfulness with these ideas, a montage of reactions to the notion of Web 2.0 more than a manifesto for it. Matt Kirschenbaum has commented on one of these moments, the use of the WayBack Machine. Below is a further analysis (or annotation) of the first 26 seconds or so of the film:


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From the 3rd Congress of the Cybersociety comes: The wikinovela

If wikis are a definitive collaborative technology, what happens when a group tries to write a multilingual novel using the form?

[What follows is a commentary on the project involving a bit of translating and paraphrasing of the conference essay “Wikinovela: a project of hypertextual, collaborative, and multilingual creation on the Internet” by Patricia Fernandez Carrelo and Santiago Perez Isasi.]

Produced by the Faculty of Philosophy and Arts of University of Deusto (Bilbao, Spain) under a Creative Commons license, Wikinovela began April 24, 2006 and eneded July 24, 2006. Over the course of the three-months, the collaborators produced a work that stretches across languages: Castilian, euskara (Basque), and English. That is not to say that the work has been translated, but that distinct parts of Wikinovela appear in each language.

Participants could modify the text of others, continue any of the on-going storylines, create new plots (or “hypertextual ramifications” of a plot), or add metanarrative commentaries.


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THE 3rd OCS is looking for a few good ensayos and essays in Spanish AND in English (along with Portuguese and others).
A few weeks ago, I wrote about some work on digital narratives in Spanish. What I failed to mention is that these groups allow (and even encourage) English submissions. So, let me invite you […]


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New Media text: Golpe de Gracia from Jaime Alejandro Rodríguez Ruiz.

Author of El Relato Digital, Jaime Alejandro Rodríguez Ruiz(with his team of designers) has once again proven himself to be a serious artist and innovator in the realm of electronic narrative with the release of his latest piece, Golpe de Gracia. Ruiz, who teaches at the University of Javeriana in Bogotá, continues to prove himself a shape-shifter, metamorphosizing his narratives into whatever new media forms he encounters. As a result, his works serve as lessons of the possibility and limitations of these forms. They are a kind of literary stylebook, encyclopedias of forms, as he would have it. From Gabriella Infinita to Golpe de Gracia, we can trace his experiments in these forms, which both stand alone and combine to build complex narratives.






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