Intermediality and Digital Fiction

References (55)

1. blending of "hypertext multimedia," used innovative coding conventions (such as 250 HTML, XML, or JavaScript) which worked with a variety of modalities (text, image, 251 and sound) (Nielsen 1990; Delany and Landow 1994; Joyce 1996, 19-21; Bolter 252 2001; Calvi 2001; Ensslin 2007). As Ensslin observes, "From an aesthetic point of 253 view, hypermedia readers are confronted not only with interlinked text lexias but a 254 wider semiotic variety, for example, image-text, image-image, and text-image links, 255 as well as dynamic and interactive elements such as film clips and drag-and-drop 256 mechanisms" (2014a, 262; Glazier 2002, 84-88; Hayles 2008, 6-8). Consequently, 257 hypermedia turns out to be inherently and explicitly intermedial in many new and 258 exciting ways: not only a combination of literature and technology but also of audio 259 recordings, films, photographs, newspaper clippings, and many more (Simanowski 260 2001; see Ensslin 2007, 2014a). A good case in point is one of the first hypermedia 261 novels, Mark America's Grammatron.
2. 262 To conclude, hypertext's intermediality stems from the integration of literature 263 and technology. It is the latter medium which profoundly transforms the former one 264 generating its specific aesthetic properties and, eventually, leading to the constitution 265 of ontologically distinct genre within literary studies. The code-driven hypertext 266 technology motivates an original and ephemeral structure of hypertext fiction, along 267 with its hermeneutic and semiotic properties. As a result, hypertext fiction is 268 intermedial in the sense of formally imitating hypertext technology and adapting 269 textual content to its unique architecture and mechanics affecting the narrative in 270 both its story and discourse.
3. 271 As for hypermedia, it acquires its intermedial status on account of combining not 272 only text and code but also diverse multimodal and multimedia resources. As Ensslin 273 puts it, "As opposed to first-generation hypertexts, which use images sparsely and 274 mainly as illustrative or decorative means, hypermedia writings form a coherent 275 intertextual, intermedial, and multimodal whole, which is more than the sum of its 276 constituent parts" (2014a, 262). Consequently, hypermedia fiction does not only 277 formally imitate hypertext technology but also offers means for overt inclusion of 278 multiple media within a given work of fiction. It is, therefore, intermedial in the 279 sense of juxtaposing separate, nonliterary (and nonverbal) media and generating a 280 complex synthesis of media components (i.e., plurimediality).
4. Interactive Fiction 282 To paraphrase Nick Montfort, interactive fiction (henceforth abbreviated as IF) is a 283 computer program that displays text, accepts textual responses, and then displays 284 additional text in reaction to what has been typed (2003; Montfort 2011; Jackson-Mead and Wheeler 2011; Plotkin 285 2011; Montfort 2013). The key feature of this genre of digital fiction is text-based interactivity 286 between a human and a machine: the program "must be able to react to [human] 287 input meaningfully" (Montfort 2003). The input is not about following randomly 288 associated lexias or links, as in hypertext and hypermedia fiction that also exhibit a 289 degree of interactivity (Douglas 2000; Bolter 2001), but about a reader's contribut-290 ing a text which subsequently needs to be understood by a machine and reacted to in References AU14
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