Nonsense ("Чепуха") is a literary game, winner of Teneta -1994
Boutes rimes (Буриме) - online collective literary game. Teneta 1995 winner, nomination: "Creative Environments"
Буриме Игра в буриме (< франц. bouts rimés) -- старое и любимое развлечение. Заключается она в том, что все участники пишут четверостишия на заданные рифмы. Нелепость и случайность рифмы иногда высекает неожиданную мысль. А иногда не высекает. На этой странице представлена несколько модифицированная версия игры. Рифмы для сочинения будут вам выданы случайно из словаря. Чтобы было интереснее, словарь должен пополняться. Поэтому вы получите рифмы для сочинения после того, как придумаете новую рифму для словаря. Если у вас есть хорошая рифма, а сочинять не хочется, все равно внесите ее в словарь, пожалуйста. Хорошая рифма для буриме должна будить образ неожиданным сближением далеких, а лучше -- контрастных, понятий. Она может включать слова в косвенных падежах и глагольных формах, а также словосочетания. Избегайте вспомогательных, проходных слов, вроде сейчас, что, ваша, было. Воздерживайтесь от существительных в именительном падеже. Придумайте рифму и впишите ее на следующей строчке, вот так: трюизмы/круиз мы. Можно писать в КОИ или в стандартной транслитерации. Пользуйтесь словарями. / рифму и получить задание. Если у вас хорошей рифмы нет, не вводите плохую, задание можно получить, почистив банк рифм. Потерянное задание можно восстановить.
This literary game which can be equally used to create prose and verse is a tribute to the Surrealist parlor game known as the “exquisite cadaver” and the paper-based Mad Libs created by Roger Price and Leonard Stern in 1953 (for more details, read Montfort’s introduction to the Literary Games issue of Poems that GO). This program originally created in Perl allows people to create texts and tag words to become “dreamfields.” When someone blindly fills in the dreamfield, it reconstructs the text with the reader’s input. (Source: Leonardo Flores, I ♥ E-Poetry)
Literary gaming (Ensslin 2014) is situated at the interface between literary computer games and ludic digital literature. The conjunction of literary close-reading and gaming is inherently paradoxical because literature and computer games are two entirely different receptive, productive, aesthetic, phenomenological, social and discursive phenomena. Reading, according to Hayles (2007), requires deep attention, which allows subjects to focus on an artefact such as a print novel or digital fiction for an extended period of time without, however, losing a sense of the actual world surrounding them. Gameplay, on the other hand, typically involves hyperattention, which literally glues players to the screen, thereby creating "artificial" basic needs, such as the urge to finish a level or quest before being able to focus on any other activity. (Literary) art games tend to "détourn" commercial game aesthetics (Dragona 2010, Vaneigem 1967) to evoke a critical meta-stance in players towards the ludic and textual expectations created by mainstream game culture. This meta-stance may relate to the ways in which players willingly succumb to teleological trajectories such as functional killing and saving damsels-in-distress (Ensslin and Bell 2012). By the same token, literary game designers and digital writers explore creatively the question of whether hyper and deep attention are indeed compatible, thereby producing a variety of artefacts that inhabit various loci on the spectrum between ludic digital literature and literary computer game (Ensslin 2012). Focusing on the ludic, fictional, medial and linguistic metazones (Jaworski et al. 2004), this chapter offers a close "playing" of Jason Nelson's poetic platform game, Evidence of Everything Exploding (2009). Nelson's work sits near the middle of the ludic-literary spectrum. It literally 'toys' with the explosive potential inherent in the fusion of reading and playing, specifically in the highly polysemic and metalinguistic realm of poetry. Methodologically, an extended notion of functional ludo-narrativism (Ryan 2006: 203) will be employed to the analysis, with a view to examining how elements of game design, gameplay, textuality and poetic style concur to evoke distinctive receptive and interactive experiences. (Source: Author's abstract, 2012 ELO Conference site)
Ad Verbum is a Oulipo-inspired wordplay-based game.
