configuration

By Jill Walker Rettberg, 2 July, 2013
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Abstract (in English)

ABSTRACT: We consider a specific character, Princess Charlotte, in the 1999 interactive fiction work Varicella by Adam Cadre. To appreciate and solve this work, the interactor must both interpret the texts that result (as a literary reader does) and also operate the cybertextual machine of the program, acting as a game player and trying to understand the system of Varicella’s simulated world. We offer a close reading focusing on Charlotte, examining the functions she performs in the potential narratives and in the game. Through this example, we find that in interactive fiction — and we believe in other new media forms with similar goals — works must succeed as literature and as game at once to be effective. We argue that a fruitful critical perspective must consider both of these aspects in a way that goes beyond simple dichotomies or hierarchies.

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Description (in English)

Pieces is a puzzle story. To read the work, you assemble the pieces of a jigsaw puzzle, each piece yielding a portion of narrative. Under your hands, several lives take shape in earnest if sometimes wobbly and unprepossessing assemblages. The manner in which you put the pieces together affects the course of the characters’ lives, different configurations resulting in different outcomes.

(Source: Author's description at Wordcircuits)

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Technical notes

The text of this work is stored as XML in a format that is a prototype for a standard meant to allow easier authoring, dissemination, and preservation of interactive and multimedia literature. The format includes provisions for structured grouping of text components and the conditional displaying of text. 

Description (in English)

Theme

"Pax" is a lesser apocalypse that began to unveil itself one stormy spring day near Dallas when someone closed the terminal and the guns came out. It's about flying and falling, truth and desire, nakedness, terror, and the home land. While some may find these themes all too American, they are as Chekhov might have said originally Russian: recall what happened to those cosmonauts who took off from the USSR and landed in the CIS, displaced by a trick of history, discovering (as we all must) that we travel through time as well as space. It's become a common experience these days, this journey to another world, this never coming home. Especially when the guns come out.

Form

As will be apparent, this is not a work of literature in the ordinary sense; neither does it have the formal properties of a game, though it is meant to be be played as well as read. Taxonomic questions--whether this text is hyper, cyber, techno, or oulipo, indeed whether it is "text" at all--I leave to those who care about such matters. Some years ago and in another world, John Cayley pointed out that we play many things besides games--for instance, musical instruments. He went on to wonder if we could create textual instruments, rule-governed systems for producing patterns in which the element of configuration or play is highly prominent. Though it is probably not what Cayley had in mind, the form of "Pax" began as an attempt to realize his suggestion.

(Source: Author's description on About Pax page)

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