dystopia

Portal is a mix between a computer novel and an interactive game. It was published for the Amiga in 1986 byActivision, written by Rob Swigart, produced by Brad Fregger and programmed by Nexa Corporation. Versions for the Macintosh, Commodore 64, Apple II, and the IBM PC were later released. A unique game for its time,Portal was one part text-driven adventure (à la Zork or Planetfall) but with a graphical interface.

The player, taking on the role of the unnamed astronaut protagonist, returns from a failed 100 year voyage to 61 Cygni to find the Earth devoid of humans. Cars are rusted and covered with moss, the streets are completely barren and everything appears as though the entire human race had just vanished suddenly. The player happens upon a barely functioning computer terminal that is tied into a storytelling mainframe, Homer. Through this interface, the player, assisted by Homer who attempts to weave the information into a coherent narrative, discovers information in order to piece together the occurrences leading to the disappearance of the human race. For instance, spending some time in the Medical Records section may unlock a piece of data in the Science section, and through these links the player can finish the game.

A hardcover novel, titled Portal: A Dataspace Retrieval and composed mostly of the text from the interactive novel with some new additions, was written by the same author, Rob Swigart and first published by St. Martin's Press in 1988. It takes the form of a series of notes on different subjects, in an order that the player would encounter them through Homer. A softcover edition was released by Backinprint.com in 2001.</p>

Now an ebook version has been released "under the Creative Commons BY-NC-ND Unported license 3.0" It has been authorized to be uploaded here by the author himself. http://67.205.70.12/forums/showthread.php?t=37197

(Source: Wikipedia entry)

Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies. Following in the tradition of Russian Futurism, the site adopts a "do-it-yourself," "art-in-the-streets" aesthetic that privileges ready-made code, found media objects, and thought and language games over high-tech wizardry.

(Source: Author's description from Electronic Literature Collection, Volume Two)

A hypertextual prose poem, told in the second person, about a dystopic future summer where the skies are filled with ash due to some environmental disaster. Each brief node offers the reader two links, at first giving what appears to be an almost linear narrative, but eventually returning to the beginning to allow the exploration of new paths. The work describes the sensations of living through such a summer without going into the narrative of how we got there, or suggestions to what may happen next.