Video games are interactive games designed with graphic images, sound, music, and/or other effects (i.e. controller vibration). These games are viewed on a display via a video screen using an electronic system or ‘platform’, such as a computer, handheld device, or video game console (i.e. Nintendo or PlayStation). Players manipulate or control the action of the game through a connection to this platform via an input device, such as a keyboard or game controller.
In 2009, Chris Klimas developed an open-source software tool called Twine. Twine is a free platform which enables users to create interactive fictions or ‘Twine games’. Twine’s user-friendly interface does not require an understanding of programming languages or writing code. However, more-savvy users do have the option to add other sophisticated elements, such as images, CSS, and JavaScript.
Aurature: linguistic work valued for lasting artistic merit that has been expressed in the support media of aurality.
Aurality may be understood either as the entirety of distinguishable, culturally implicated sonic phenomena or, more narrowly and with specific regard to aurature, as the entirety of linguistically implicated sonic phenomena.
Kinepoeia is movement suggested by the textual representation of the word. An example of kinepoeia is seen in the 2nd Movement of Rob Kendall’s “Faith” when the word, “edge,” literally sidles or edges in, suggesting “doubt" creeping in and testing our faith when logic finds its way in.
As the building blocks of any networked text and many-a-digital fiction, nodes must be treated as semantic units that are meaningful both independent of and in relation to the larger network in which they reside. The idea of a node is exciting in terms of digital textuality: it is a new bibliographical unit peculiar to digital environments (i.e. chapter, footnote, stanza, node).
Definition by Bob Ryan
Digital fiction is fiction written for and read on a computer screen that pursues its verbal, discursive and/or conceptual complexity through the digital medium, and would lose something of its aesthetic and semiotic function if it were removed from that medium.
With roots in indeterminate and asemic writing in print, the term "generative poetry" is used to refer to any born-digital poetic project that uses code, algorithm, or other indeterminate means to generate poetic texts. In generative poetic works, a program or algorithm generates a poem or series of poems based on a lexicon or set of lines developed by the authors. This generation may run once, for a fixed period or a fixed number of times, or indefinitely, depending on the project.
The term paraspace was introduced by science fiction author Samuel Delany as “a science fictional space that exists parallel to the normal space of the diegesis- a rhetorically heightened ‘other realm.” (157) In his Terminal Identity (1993), Scott Bukatman extends Delany’s idea of the paraspatial to account for works of film and literature that depict linguistically unknowable realms by “overloading and estranging” the sensory apparatus.
A photo-novel is published as a sequential story made of photographs or film stills, with bubbles of text for dialogue and narration. The earliest form of the photo-novel, the cine-roman or film-novel, appeared in post-war Italy as serialized film adaptations in women’s magazines centered around celebrity culture and melodrama. In the few years before the television era, the photo-novel brought cinema language to print as original photo-comic strips, drawn novelizations of movies, photo-comic instructional manuals or advertisements and long-form photo-journalism.
