Published on the Web (virtual world)

You’re the head coach of the Eugene Melonballers, an up-and-coming team in the International Smorball Federation. Can you coach your team to victory, helping them win the coveted Dalahäst Trophy and bring glory home to Eugene?
Smorball is a challenging browser game that asks players to correctly type the words they see on the screen–punctuation and all. The more words they type correctly, the quicker opposing teams are defeated, and the closer the Eugene Melonballers get to the Dalahäst Trophy.

Smorball tackles a major challenge for digital libraries: full-text searching of digitized material is significantly hampered by poor output from Optical Character Recognition (OCR) software. When first scanned, the pages of digitized books and journals are merely image files, making the pages unsearchable and virtually unusable. While OCR converts page images to searchable, machine encoded text, historic literature is difficult for OCR to accurately render because of its tendency to have varying fonts, typesetting, and layouts.
Smorball presents players with phrases from scanned pages from cultural heritage institutions. After much verification, the words players type are sent to the libraries that store the corresponding pages, allowing those pages to be searched and data mined and ultimately making historic literature more usable for institutions, scholars, educators, and the public.
Play Smorball, save scanned books from digital oblivion.

(Source: http://www.tiltfactor.org/game/smorball/)

Dwarf Fortress is a complex, text-based computer game that has been in development by Tarn and Zach Adams since 2002. The game begins by first procedurally generating an expansive, dynamic world in which players attempt to guide an exponentially increasing colony of temperamental dwarves to build and manage within an ever expanding fortress. The task is made difficult by both the unpredictable and emergent behaviors of the simulation as well as by the anachronistic and arduous interface: a screen full of ASCII characters recalling the personal computers of the early 1980s. Inspired by games like Rogue (1980) and Sim City (1989), the stark textual interface contrasts with the game's complexity as Dwarf Fortress can easily consume all available processing power of a contemporary computer. Stephanie Boluk and Patrick LeMieux have suggested that "[i]n rejecting the conventions of standard game design and traditional narrative storytelling, Dwarf Fortress produces textual inscriptions that not only mark one horizon of human experience but recall forms of historical writing that depart from human-centered and teleological modes of history." The way in which Dwarf Fortress generates a flattened narrative landscape in which no moment is prioritized over another is reminiscent of medieval literary forms of writing such as the annal, chronicle, and calendar. While the game's textual output may or may not aggregate into narrative coherence, a dedicated community of players have delighted in not only playing the game to observe its effects, but they have also translated these nonhuman narratives into legible (if absurd) stories as a means of inscribing a history of play that is notoriously difficult and governed by the game's tagline "Losing is Fun."

(Source: ELC 3)

Seven creative minds get together in the same project. It is a novel written collectively, where seven particular characters present their stories in August 2nd day of the Virgin of Angels, the Patron of Costa Rica (Source: RedCultura.com) (Translated by Maya Zalbidea).

This hypertext fiction presents three characters: Sofía, Mara and Carlos. Through a poetical language full of metaphors and philosophical thoughts the reader clicks on links to follow the fragmented and disorganized story. The story is incomplete and open to the reader's interpretation. Why Sofía wants to abandon her life? Mara and Carlos have a relationship but what is the relationship between Sofía and Carlos? Why are they so depressed when they think about the past? The readers must find the answers (Maya Zalbidea Paniagua)

Pentagonal: incluidos tú y yo by Carlos Labbé is a hypertextual short story that starts with newspaper news in which some words are liks to other fragments of the text. With the exception of the first screeen the rest of the interface is text with links. It combines quotations, science (astronomy) and the story with short fragments quite disorganized. It is difficult for the reader to build the structure of the narrative and he/she can lose interest after certain jumps (Félix Rémirez, translated by Maya Zalbidea)

Cloe is a final academic project from Universidad de Navarra, it is a digital well-narrated story, it uses a contemporaneous interface that combines texts, chat sessions, email simulations, images and intimate reflections while it tells the depression of an adolescence that, little by little, is able to get out of herself. The story deepens into the psychological portrait of the characters, a loneliness within the great city, with a background of dark colors of melancholic sadness.

Asesinos y asesinados (Murders and Assassinated) is a short hypermedia crime novel about a multiple murder. The speaker is dying and the reader receives information about what happened before the assassinations. The text is read in a linear fashion and there are spontaneous images with a graphic novel or comic design that appear while the reader is scrolling down the text. In the end of the story the reader is invited to write the possible ending of the story.

#PRISOM is a Synthetic Reality Game where a player is set loose in a Glass City under infinite surveillance. It is designed to encourage players to ponder the increasing global adoption of PRISM-like surveillance technology. Every one of the “#WhatDoYouDo” scenarios that you’ll encounter when playing the game stem from real-life scenarios, including the ongoing unconstitutional treatment and [in some cases] incarceration of those keen to expose the nature of heavily surveilled and overtly monitored societies