#ZEN BOUND 2 NO EXPLANATION SERIES#
Along with Katra Byram, he also provided insight and advice about the whole manuscript ixĪs one of the editors for the Theory and Interpretation of Narrative series for Ohio State University Press.
James Phelan helped to sharpen chapter 2 as the editor for Narrative. Although none of the writing that I did for the Bloomsbury Handbook for Electronic Literature became a part of this manuscript, the feedback that I received from Joe Tabbi and Robert Ryan on a chapter about narrativity in electronic media helped me think through many of the ideas that would form the basis of chapter 3. Robyn Warhol and Zara Dinnen read and provided feedback on some of the material that became chapter 3. Marie-Laure Ryan and Alice Bell made many suggestions on an earlier version of what has become chapter 5. Back in 2011, David Herman provided extensive feedback on the topic of reader orientation in the electronic text that was the genesis of this project, and that has become chapter 1. My argument has benefited greatly from the advice that I have received on parts of this project over many years. This book would not have been possible without the support of the many scholars I have met through the ISSN and ELO. The goal of this project is to reveal commonalities between these two scholarly groups, which have welcomed me in different ways into a generously and inspiring dialog on the relationship between narrative and digital texts. Hashtag use during 2014 State of the Union AddressĪ S T H E I N T R O D U C T I O N will make clear, this book is very much the product of two intellectual communities: the International Society for the Study of Narrative, and the Electronic Literature Organization. Ingrid Ankerson and Megan Sapnar, Cruising 85 Jason Nelson, Game, Game, Game, and Again Game 80 Lucy Anderton and Nicholas Robinson, A Servant. Roderick Coover, Voyage into the Unknown 58 Morrowind, narration from a guard character Scott Ichikawa, Thomas H. Crofts, and James Dvorak, Outrances (posters) Scott Ichikawa, Thomas H. Crofts, and James Dvorak, Outrances (photograph) Number and Movement in the Construction of Digital CharactersĪlgorithm and Database in Possible Worlds Theory Narration, Intrigue, and Reader Positioning in Digital Narrative
#ZEN BOUND 2 NO EXPLANATION PRO#
Cover design by Larry Nozik Text design by Juliet Williams Type set in Adobe Minion Pro Library of Congress Cataloging-in-Publication Data is available online at. T H E O H I O S TAT E U N I V E R S I T Y P R E S S C O LUM BU SĬopyright © 2019 by The Ohio State University. PL AYING AT NARR ATOLOGY DIGITAL MEDIA AS NARR ATIVE THEORY James Phelan, Peter J. Rabinowitz, and Katra Byram, Series Editors T H E O R Y A N D I N T E R P R E TAT I O N O F N A R R AT I V E In others, I've only seen in tutorial mode, the rope has paint bumps that do pretty much the same thing, or the figure has paint nails that explode when touched by the rope.PL AY I N G AT N A R R ATOLOG Y Digital Media As N arrative Theory One is simply wrapping in rope and it will splash paint where it touches the wood. There seem to be a couple of ways a level is played. Some figures are just difficult to completely wrap. The game seems to be fairly easy to complete on any%, but it'll take some effort to 100% it. The first figurines are easy, but later there are gaps to fill and if you tie a rope around in the wrong order you won't ever reach those places again so you'll have to do a bit of thinking. The game is about tying rope efficiently around wooden figurines. Now prove it.įirst off, this has _nothing_ to do with erotica. 97: About Love, Hate and the other ones.
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