Hypercompendia

Excellent post from Tale of Tales on the history, the rise and fall, the pros and cons, of producing a “new” style of video game not for the gamer perhaps as much as to reach and appeal to the non-gamer audience.

I found it interesting for many reasons but basically two: 1) a high degree of interest in the game once I saw the trailer and the exquisite graphics and work that went into this, and 2) I’m facing the same dilemma in literary hypertext. Shall I continue to bother “breaking into” the reading audience that chooses romance, sci-fi, or whatever’s trendy and appeal to their interests which I’ll try to appease, or do I write for the experienced hypertext reader, i.e., the academic, the new media or contemporary literature professors, or the coding folk.

This also caught my eye within the article:

But all the modelers we tested just couldn’t get the style right. To create stylized characters for a horror game that are not cartoony but still attractive, is apparently a skill not taught in 3D academies. Part of the reason probably was that we only got male candidates. Our experience with finding our wonderful animator Laura Raines Smith had taught us that it takes a woman to animate girls properly. Maybe it takes a woman to model girls as well. We don’t blame the men. We blame the fact that more women don’t choose 3D modeling as a career!

Ah, but there for the span of thirty years, would I be.

Yes, it’s coming slow, but I’m getting there a bit at a time as I add in the stories, poems, hypertexts, and the venues and all the information that ties in with the submissions. Today, thanks to Mark Bernstein at Eastgate, I learned how to color code the links to distinguish which way they’re going (submit versus accept/reject) so that I can see what’s out where at any given time.

I’m also afraid to go too far into it without planning exactly what I want to do about the setup. For example, while I now have a single note for a story I might want to put the story in the note itself so that I can then have the agents to do a word count sort, or genre sort, etc., as well as have the information as to where it’s been sent (the magazine as a link). Same thing with the magazines; it might be good to have the information as to what I’ve sent there separate from the submission guidelines. So there might be two notes inside a note. This is where I’ve got to spend the time planning it out.  But here’s the latest map of the Literary Endeavors project:

Found on Dark Roasted Blend, the Great Sperm Race: The Most Extreme Race on Earth which has a lot of the screen shots of the forthcoming National Geographic program which will be aired tomorrow, Sunday, March 14th at 9 p.m.

This looks like an amazingly different take on the topic of reproduction, judging from the photos, but it is put out in an interesting and imaginative manner. The images reminded me somewhat of an old Woody Allen movie that had a particularly hysterical scene wherein Allen and others, all dressed as sperm cells, were arguing over the ejaculation and journey to the womb.

To bring back some of the fun–check out the game on the National Geographic site; I almost knocked over my laptop when I bonked my sperm into the vaginal wall. Then, when I got my laughter back into a reasonable semblance of gameplay and moved on, I killed it with oozy acid. Too funny.

Here’s the latest version of Literary Endeavors, with the Poems set up and the Print Journals transferred from a Container to an Adornment. Couple things learned the hard way: If you overlap an Adornment onto another, you’ve got a holy mess on your hands because they become attached and move together, leaving the notes behind. Worked my way out of it, but not a happy sight as you move things around and the situation gets worse. But that’s what the “Save” feature is for.

Obviously, planning ahead for size when you want something that needs to all be displayed at once (another reason for keeping them out of Containers and using Adornments) is an important point. Particularly when you know you will be adding lots of notes on an adornment. I should have minimized the view right away and spread the Adornments to fit at that point, geared towards a horizontal screen.

As far as links, all I have so far is the (blush!) published ones in so far but I’m planning for the submitted and accepted/rejected return links as soon as I resize my layout.

That’s one of the problems with self-teaching: you learn something the wrong way and once you stumble across the right way, you have a lot of changes to make. On the other hand, a lesson learned from trial and error is one that sticks with you–especially if you have quite a bit of work done to date.

Once I realized that the thing I wanted was an Adornment and not another Container Note, I had to transfer a whole lot of notes into different areas. Thankfully, I didn’t have all the stories, hypertext or regular, and only two of the poems so far entered into the program. I do have about 80 of the print journal notes made, but few of the online journals and just a couple of the new media. It was a case of trying to fill in spaces from memory in some cases, just to have a few samples to work with.  At any rate, here’s the first step towards redesigning the Literary Endeavors Tinderbox file.

It was demoralizing. It was one of those questions that your knowledge and experience with the program should have taken you beyond. It was something I felt too embarrassed about not knowing to bring me to ask. Why was everybody else’s map so different from mine? Why wouldn’t my notes show up with titles? Why wouldn’t my links transcend their corrals?

The Answer: I was using Containers, while they were using Adornments. A tweet from Mark Bernstein along with the alert that though it was in German, it was a great visual, led me to this site by Felix Dencker, where I not only noticed that the Germans also knew something I didn’t, I picked up the word “Adornment,” within the article and voila’!

Stacey Mason at Eastgate (Tinderbox and Storyspace) has an interesting concept up over at HLit: what about reading hypertext aloud.

Inspired perhaps by Finnegan Flawnt’s extraordinary reading voice rather than my own little ditty he’s reading, she weighs the possibilities and decides “The thought of a work and a user interacting back and forth through sound to create a narrative is worth exploring.”

I like her inquisitive nature and the willingness to project ideas way beyond their intent. And, this is a damn good idea too. What came instantly to my mind is the robot helpers you get on the phone that can understand your responses to direct you step by step to a resolution (or a real person who can intercept and help). I could well envision a voice-activated reading of a hypertext, whether the reader says a linking word aloud and thus moves the narrative forward, or how’s this, totally phone conversationally driven where an obvious link (perhaps obvious by tone or inflection) is offered to the listener who then repeats a word or phrase to direct the story to their own choice.

This sounds like an interesting project, audio controlled hypertext. I’m sure touch-text is already in the making with the touch-screens, and visual images will play a big part in that endeavor. But Stacey’s come up with a pattern of thought here that I hope she pursues.

Thought I’d point to an interview I recently did over at Fictionaut about hypertext and new media in general. I had formed a Hypertext Group within this online writers colony and am thrilled to encourage interest and find a receptive and curious audience there.

At Facebook there is some commentary between myself and Finnegan Flawnt, who just recently started playing with the Tinderbox program, that entertains the question of new media being metafictional by nature. It is worth thinking about, if perhaps even the simplest hypertext is in fact calling attention to the act of writing by its visual invitation to interact with the text.

We’ve gotten used to seeing text as thoughts and read them not as signs and symbolic marks upon a background (think of looking at a page of Chinese writing when you can’t read the language), but see the idea presented in the pattern formed by the letters. Possibly seeing beyond the words and sentences to the images they represent. Hypertext includes links within text of a different and obvious color that is saying something about the text itself and the process of reading it, rather than merely being a part of the story. It’s talking directly to the reader. It’s an interesting way of looking at new media, particularly when it includes audio and visual effects that further call attention to the experience. Is it screaming, louder than the story it presents, “Look at me, I’m a story!”?

An image of the updated file “Literary Endeavors” (previous post image):

With the generous assistance of Steve Ersinghaus, I finally was able to figure out exactly how to make use of the Tinderbox features of using prototypes and particularly, the agents. This was vital to this project as the different types of works wanted to also be separated for easy identification of word count and eventually, published, in submission process, etc.

Once I learned what to put in the query strings and where to put them into the agent note, I can take it further on my own into the specific areas for whatever purpose I need. I also learned that the prototypes must be specific and no note can serve two masters/prototypes so that if I want a group to follow a chocolate/blue dress (example only) standard, I need to make that a single prototype rather than two; likewise, chocolate/pink dress would be a different prototype entirely.

I’ve made a lot of progress on this particular project, and also can apply that knowledge learned last night into the 100 Hypertext project that I’d started late last year.

Now, I’m having fun.

I’d posted this at fictionaut, but wanted to repost it here as Hypercompendia’s been sort of a journal of a learning process.

“In just recently having had two hypertext works accepted for publication, I find there is a bit more to the submission process of hyperfiction just as there is to the writing of it.

Word length is an important consideration in all story submissions, and in hypertext, the length of the story read may not necessarily include all the separate sections involved. For example, in one of my pieces, the story can be complete in as little as five pages, or as many as twelve. The word count can be figured out, and the longest form can be the goal to remain within restrictions.

Another factor is styling; some publications that take only new media may require the addition of colored background pages as well as images, film clips, or sound. Others may be set up for, or merely prefer, a simpler more basic text format.

All this, of course, is a simple matter of changing the css and html template so that a story can be tailored to an online magazine’s specific needs.”

I’d add a few additional thoughts here. One, in sending a file to a literary e-zine, while I can get away much easier (and it’s easier reading for them as well) to direct them to my site as a submission link, once something in hypertext has been accepted, it needs to be recoded so that the links all point to the publication’s server. Tinderbox makes this extraordinarily easy by simply coding the html template in Tinderbox for the document and exporting to a file on my own drive from there. And then, I can easily send the whole file out to the wonderful editor who accepted the piece for publication. This takes a lot of the reluctance out of the editorial process and I make sure to include the offer upfront “should a piece be accepted.”