![]() ![]() It won the Electronic Literature Organization award. It consists of an associated multi-modal collection of nodes includes linked text, still and moving images, manipulable images, animations, and sound clips. The story is written as a reflection diary of the interconnected memories of childhood, adolescence, and adulthood. Caitlin Fisher’s hypertext novella “‘These Waves of Girls“ is set in three time periods of the protagonist exploring polymorphous perversity enacted in her queer identity through memory. Linda Dement’s Cyberflesh Girlmonster a hypertext CD-ROM that incorporates images of women’s body parts and remixes them to create new shapes. In the 1990s, women and feminist artists took advantage of hypertext and produced dozens of works. In 2000, it was included in the Whitney Biennial of American Art. Shortly thereafter, in 1997, Mark Amerika released GRAMMATRON, a multi-linear work that was eventually exhibited in art galleries. On June 21, 1996, Bobby Rabyd (aka Robert Arellano) published the World Wide Web's first interactive novel, Sunshine 69, with navigable maps of settings, a nonlinear calendar of scenes, and a character "suitcase" enabling readers to try on nine different points of view. Noted pioneers in the field are Judy Malloy and Michael Joyce.ĭouglas Cooper's Delirium (1994) was the first novel serialized on the World Wide Web it permitted navigation between four parallel story strands. The first hypertext fictions were published prior to the development of the World Wide Web, using software such as Storyspace and HyperCard. To Aarseth, the process of reading immersive narrative, in contrast, involves "trivial" effort, that is, merely moving one's eyes along lines of text and turning pages the text does not resist the reader. If ergodic literature is to make sense as a concept, there must also be nonergodic literature, where the effort to traverse the text is trivial, with no extranoematic responsibilities placed on the reader except (for example) eye movement and the periodic or arbitrary turning of pages. In ergodic literature, nontrivial effort is required to allow the reader to traverse the text. To Aarseth, hypertext fiction is a kind of ergodic literature: To Espen Aarseth, cybertext is not a genre in itself in order to classify traditions, literary genres and aesthetic value, texts should be examined at a more local level. In a game, the person makes decisions and decides what actions to take, what punches to punch, or when to jump. In a novel the reader has no choice, the plot and the characters are all chosen by the author, there is no 'user,' just a 'reader,' this is important because it entails that the person working their way through the novel is not an active participant. Cybertexts may be equated to the transition between a linear piece of literature, such as a novel, and a game. Each user obtains a different outcome based on the choices they make. In hypertext fiction, the reader assumes a significant role in the creation of the narrative. The similar term cybertext is often used interchangeably with hypertext. There is little consensus on the definition of hypertext literature. The Garden of Forking Paths (1941) is both a hypertext story and is sometimes used as a description of having different possible paths. James Joyce's Ulysses (1922), Enrique Jardiel Poncela's La Tournée de Dios (1932), Jorge Luis Borges' The Garden of Forking Paths (1941), Vladimir Nabokov's Pale Fire (1962), Julio Cortázar's Rayuela (1963 translated as Hopscotch), and Italo Calvino's The Castle of Crossed Destinies (1973) are early examples predating the word " hypertext", while a common pop-culture example is the Choose Your Own Adventure series in young adult fiction and other similar gamebooks. ![]() The term can also be used to describe traditionally-published books in which a nonlinear narrative and interactive narrative is achieved through internal references. Its spirit can also be seen in interactive fiction. The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Hypertext fiction is a genre of electronic literature, characterized by the use of hypertext links that provide a new context for non-linearity in literature and reader interaction. ![]()
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