see also Narrabase - Hypertext Narrative - Interactive Fiction - Hyperfiction - Hypertext Fiction - Hyperfiction - Hypertext
from source[1] "Making the contrast between interactive fiction, a term generally used for works with a branching structure where the reader continually makes choices between sequential plot paths, I called my hypertext narrative a "narrabase" (for narrative database) when I wrote Uncle Roger[2] in 1986. I thought of this work as a "pool of information into which the reader plunges repeatedly, emerging with a cumulative and individual picture...to build up levels of meaning and to show many aspects of the story and characters, rather than as a means of providing alternate plot turns and endings.
"....hypertext fiction offers narratives that operate as networks rather than linear sequences," Katherine Hayles writes in her introduction to Technocriticism and Hypernarrative.[3]
"I wanted, quite simply, to write a novel that would change in successive readings and to make those changing versions according to the connections that I had for some time naturally discovered in the process of writing and that I wanted my readers to share," Michael Joyce wrote about his hyperfiction afternoon, a story. [4]
REFERENCES
- ↑ http://www.well.com/user/jmalloy/neapaper.html HYPERNARRATIVE IN THE AGE OF THE WEB by Judy Malloy April 3, 2007
- ↑ http://www.well.com/user/jmalloy/partyone.html
- ↑ http://muse.jhu.edu/journals/modern_fiction_studies/toc/mfs43.3.html Hayles, N. Katherine, "Situating Narrative in an Ecology of New Media", Technocriticism and Hypernarrative, MFS Modern Fiction Studies 43:3, Fall 1997.
- ↑ http://www.eastgate.com/catalog/Afternoon.html Joyce, Michael, Of Two Minds, University of Michigan Press, 1995 p. 31. Written in 1987, afternoon, a story was published in 1990 by Eastgate Systems.