By Markku Eskelinen
Both drawn to what's and what should be, Cybertext Poetics combines ludology and cybertext idea to unravel chronic difficulties and introduce paradigm alterations within the fields of literary conception, narratology, video game reviews, and electronic media. The publication first integrates theories of print and electronic literature inside a extra entire thought able to coming to phrases with the ever-widening media different types of literary expression, after which expands narratology a ways past its present confines leading to a number of new percentages for either interactive and non-interactive narratives. through targeting a cultural mode of expression that's officially, cognitively, affectively, socially, aesthetically, ethically and rhetorically varied from narratives and tales, Cybertext Poetics constructs a ludological foundation for comparative video game reviews, exhibits the significance of online game stories to the knowledge of electronic media, and argues for a plurality of transmedial ecologies.
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Additional info for Cybertext Poetics: The Critical Landscape of New Media Literary Theory (International Texts In Critical Media Aesthetics, Volume 2)
Still, as past discussions around code, codeworks, and critical code studies already show, to cross the bridge from computer science and artificial intelligence to the humanities (and social sciences) with heuristic conceptualizations of networked programmability and code is more easily promised than delivered. 3 Bootz The point of departure for Philippe Bootz’s procedural model (Bootz 1996; 2003; 2006) is also different from the communicative orientation of what he calls “standard theories”: Thus, though the concepts of ergodic literature, of cybertext10 and of technotext are useful, they do not allow us to apprehend Cybertext theory revisited 29 the fact of digital poetry in its entirety.
In short, and if we agree that the rule-based manipulative activity central to games could be called configurative, we can state that literature is a dominantly interpretative practice, unlike games that are dominantly configurative or manipulatable practices. To generalize: in art, we might have to configure in order to be able to interpret, whereas in games, we have to interpret in order to be able to configure, and proceed from the beginning to the winning or some other situation (Eskelinen 2001a).
What seems to be a random or at least different reaction to the same action may equally well be a carefully calculated consequence 40 cybertext poetics of some minor difference between two situations that has escaped the user. Second, the user may not know whether he acted precisely the same way in two situations that perhaps were identical. Third, the system may vary its response in cycles, but without knowing this from the start or without learning it through his experience (and patience) the user may interpret the system’s response to be random when it is not (its experienced unpredictability resulting only from the user’s limited experience and imperfect knowledge).