Overview

Aarseth attempts in this work to catalogue and develop a theory of nonlinear (also multilinear and otherwise) texts, both of the electronic and paper variety. He addresses the complexity of understanding the nature of a text, its access, interaction, and phenomenological presence. The variety of these devices leads to what he calls cybertext, which has underlying differences from that of narrative.

Notes

The act of reading can be interpreted as a kind of power play. This involves a sense of safety, which can be compared between things such as tabletop and computer simulation. Power grants added control, but with extra immersion and investment. Reading itself is not devoid of power, but it is a more subtle kind (Intro, 5). Oral storytelling traditions involve significantly more interactive and participatory characteristics. Some of this is phenomenological and rooted in sense of place. Conversation can be seen as heavily interactive, whereas dialogue is less so (Intro, 15).

Aarseth discusses semiotics in the first chapter, exploring means of interpreting signs in cybertexts (specifically games) in a literal manner. Ie- each visual element in the game is some sort of sign unit. Signs need not be human-interpretable, though, a sign system does not need to be inherently linear, either. Could some cybertexts exist without logical/symbolic interpretation inherently (Paradigms, 31)? Aarseth emphasizes the duality of code, vs the Execution of code- which heavily distorts the symbolic interpretation (Paradigms, 40).

Aarseth explores some types of interactivity. He cites Peter Bogh Anderset (1990: “A theory of computer semiotics: Semiotic approaches to construction and assessment of computer systems.”): “An interactive work is a work where the reader can physically change the discourse in a way that is interpretable and produces meaning within the discourse itself. An interactive work is a work where the reader’s interaction is an integrated part of the sign production of the work, in which the interaction is an object-sign indicating the same theme as the other signs, not a meta-sign that indicates the signs of the discourse.” Compare w Crawford, others.

One of the most interesting features of Aarseth’s work is his statistical typology of cybertexts. Statistics is less absolute or conceptual, but rather empirical and analytic. He categorizes quite a few of these properties along which to sort possible works: Dynamics, Determinability, Transiency, Perspective, Access, Linking (Textonomy, 62).

Aarseth discusses Mary Ann Buckles (1995: “Interactive Fiction: The storygame ‘Adventure'”), sounds like a thing to look up. Aarseth also discusses differences between plot (sjuzet), story (fabula), as well as drama and intrigue. These are in context of the adventure game, and exploring how these are dynamically intertwined and related (Adventure Game, 112). Aarseth also describes many IF works as functionally Autistic (115). “Personal relations and habits in an adventure game like Deadline might best be described as autistic. The Encyclopedia Britannica defines autism as ‘a neurobiological disorder that affects physical, social, and language skills.’ Further, ‘it may be characterized by meaningless, noncontextual echolalia (constant repetition of what is said by others) or the replacement of speech by strange mechanical sounds. Inappropriate attachments to objects may occur. There may be underemphasized reaction to sound, no reaction to pain, or no recognition of genuine danger, yet autistic children are extremely sensitive’ (Britannica Online, ‘Autism’)”.

In Cyborg Author, Aarseth criticizes dramatic theory. Finally, he critiques literature as an ideal for cybertext. “To achieve interesting and worthwhile computer-generated literature, it is necessary to dispose of the poetics of narrative literature and to use the computer’s potential for combination and world simulation in order to develop new genres that can be valued and used on their own terms.” (The Cyborg Author, 141).

Aarseth explores the MUD, describing it as a symbolic exchange environment. Not necessarily utopian, but unmoderated, open. Consider application to game idea (!). Compare to Second Life, others.

Ruling the Reader describes various kinds of general communication, reading, listening to reading, listening to a lecture, conversation. Each have significant differences, and are different forms of compunication and participation.