"I feel some tension between my enjoyment of the journey’s implicit narrative — a design ethos foregrounded in the companion game The Wait with the inclusion of text, recognizable human figures and an explicit ending — and actions that expose some of the drawing mechanics to the player, steps towards a McClure-like experience of facilitating the creation of compelling images through constrained exploration of a possibility space."
The short verses takes from Haiku by Jorge Luis Borges perhaps aren't always the same. Is there a specific path that makes them change? Or just a strange, senseless way of creating a mysterious videogame left to the player's interpretation. Maybe the latter, I'm almost sure of that, but even if it wasnt I suggest you to try it out online.
Clyde's comment : "An obvious agency for the player is to create life; graceful lerping of flocking animations. Through joyful exploration of the systems, the player may encounter death. With each extinction, the cause of the deaths becomes a bit more clear until the player realizes that it is due to their agency. This process felt like having an aquarium of pet fish, and trying to figure out why they are dying. This particular pairing between an obvious power to create life, and a less obvious power to cause death evokes the regret inherent in mutual exclusivity."
Electronic literature—elit—is a field near as difficult to define precisely as it is to capitalise and punctuate correctly. That something of the electronic or technological obtains to works in the genre seems clear; that there is necessarily a literary or textual component is likewise self-evident. And perhaps that’s enough to be getting on with, as far as a working definition goes: something to do with text and tech.
"Le désert, c’est du rien, mais du rien en perpétuel mouvement, qu’on avance, recule ou attende sur place il ne fera que nous servir de nouvelles versions d’un même décor : du sable, des dunes et du silence. Explorant cette idée, Pierre Chevalier se prête lui aussi au jeu de la variation sur thème imposé en nous proposant deux jeux aussi vaste et désertiques l’un que l’autre."
Brief and intriguing, 100,000 years is an interactive poem. It uses the hypertext medium better than parser-based attempts at interactive poetry tend to use either the command prompt or keywords. Its strength lies is its innovation, the way it uses its extremely minimalist interaction mechanic to reveal the poetic technique.
Interesting review of 100,000 years I disagree with
Why play it? There's a new, ridiculous adventure to be had every time you replay. Captures the unpredictability and tousled improvisation of being at the center of an action sequence. Would have liked some more options, though. - Chris
"In the Twine game Destroy/Wait, choice is available, but only for a limited time: ultimately, you will be forced to destroy everything that you come across. But this doesn’t diminish the meaning behind each player choice. If you chose to wait, rather than destroy immediately, then you get a bit more of the story, the world unfolds and reveals itself in a different way. In this sense, waiting actually makes destroying that much harder, because what you’re destroying now you know more intimately than if you just simply destroyed it in the first place. What is the worse option? Destroy now, or wait?"
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Looks like a translation of a previous Porpentine's article
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