Category Archives: student blogs

On “Reality” or “Being @spencerpratt,” netprov and ourselves.

Image result for spencer and heidi

Well — as was evident in my presentation on Wednesday — netprov has captured my heart. To be honest, I discovered “Being Spencer Pratt” first and foremost because Pratt’s name popped out to me in the e-lit collection. I’m happy to report my media interests have once again led me somewhere fabulous.

Netprov stands for networked improv narrative, and select elements of a netprov include the use of multiple media, real-time exposure and the incorporation of breaking news. Netprovs are often parodic and satirical and are designed to be incomplete. Taking cues from traditional improv acting, the form is big on “yes and.” Another motto? As improv hero Del Close once said: “Play and go deep.”

The history of netprov is long and fantastic (look up “Invisible Seattle,” “I Work For The Web”, “One Week, No Phone,” “Grace, Wit and Charm” and “Workstudy Seth” for a taste). In very early 2013, Netprov pioneers Mark Marino and Rob Wittig set upon their newest venture. Originally dubbed “Reality,” the project would come to be known as “Tempspence” or “Being @spencerpratt.” On January 1st, 2013, Heidi Montag, Pratt’s wife, tweeted about how Pratt had lost his brand new phone somewhere in the UK as the result of a crazy New Year’s Eve. People responded as they do to any tweet by a star, but updates ceased as the couple set forth into a month of filming a season in the phone-less Big Brother UK house. And then a tweet came from Pratt himself. A bunch of tweets, that is.

“Testing … testing… ”
“Yes, cheers, everyone, this is actually Spencer Pratt.”
“And I am married to Heidi Montag. Wow.”

Over the course of a week, it was discovered that an imposter had found Pratt’s phone and taken over his Twitter (though die hard fans could see this right away). The imposter soon revealed himself to be an unknown British poet (“Tempspence”) who was happy to use the accounts one million followers to gain a bit of exposure. He continued to tweet from Pratt’s account, playing games with followers who loyally returned to engage day after day.

Soon enough (upon leaving the Big Brother house) Pratt confronted Tempspence.

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The game was up.

And yet …

There’s a kicker: none of this was real. While Temspence wasn’t Spencer, Tempspence wasn’t Tempspence either. Tempspence was Rob Wittig and Mark Marino. Spencer Pratt, a master of contrived character who had been a student in one of Marino’s classes at USC (where he learned the wonder of netprov) had offered the pair use of his Twitter account while he worked on Big Brother. What resulted was a piece of e-lit that questions what it means to be “real” and how we relate to our social media personalities. And a 33 page PDF of tweets.

The editor’s comment from the E-Lit Collection Volume 3 says it well: “Marino and Wittig’s repurposing of a celebrity identity offers a compelling example of the unreliable narrator in an age of social media and the unexpected reactions that this mode of digital storytelling can inspire when a tiny bubble of fiction is dropped into everyday life.”

Uff-da. That’s a lot to chew on.

Because I’m not sure how to succinctly express my thoughts on the matter (soon enough, my friends!) what follows is a copy of questions I sent one of the piece’s authors (players? writers?), the brilliant “coach” Mark Marino. Some things that came up and thoughts I had while we were chatting are italicized. Some questions are without additional comments because there’s so much I have yet to ponder. Of course I want to continue the conversation around these questions, so if anyone has any input the comments are open on the post and my inbox is waiting.

Let’s dive in:

“I understand that netprov can come in many forms (from fake twitters to fantasy football teams). The whole reason this piece stuck out to me in the first place was because when I was browsing the e-lit collection I saw Spencer’s name. How does having an already established character make the development of a netprov easier or harder? I know the audience can easily come up with a narrative about how they see Spencer reacting to the piece (not knowing he’s in on it), because they think they know him from TV — does this complicate things?”

I don’t think the idea of an established character is that important overall, except maybe if we’re talking about audience interest; incorporating an already known player is a good way to get new people into netprov. In the case of one of my favorite forms of netprov: the celebrity baby Instagram …it just makes things a little more fun.

“I love this quote of Rob [Wittig]’s from the interview with Kate Durbin: “The truth of it is that it’s not just Spencer and our poet who perform their identity self-consciously in Twitter . . . pretty much everyone is doing it, all the time. Who is the real Twitter you? The grumpy one from this morning, or the drunk one from last night? The bitter-breakup you or the new-love-affair you? The job hunter or the job hater? Language is performed and written language in social media is very much performed — because of timing, how you reply and retweet others, how you spell and misspell. And our recent netprov (networked improv narrative) projects had played with all that. And Spencer himself enjoyed playing netprov and figured out it would be a great form to use to explore these issues of “reality.”
When it comes down to it, is there anything we can’t label a netprov? How come only some of them are perceived as art?”
It’s official: I think anyone involved in social media really is netprov-ing all the time. The idea behind only some of these netprovs being pieces of merit is similar to how every piece of writing isn’t labeled literature. Definitions are hazy and you can, of course, argue any which way for something or other to be labeled as you see fit. We may never agree on a set definition (thanks Marcel Duchamp) but people are really enjoying those Taco Bell tweets.
I know netprov is best enjoyed in “real time.” Do you think the luster is lost when we look at these projects after the fact?
Mark brought up a really interesting point here that brought us into a discussion of time, the then, the now and the sublime. We can attach an emotion to something in the past, but its impossible to know now how anything really was; memories can change and one person’s past may be radically different from another’s. The question, instead should maybe be, “Was there ever luster?” They need to teach netprov in philosophy courses.
You went into the project with Spencer’s account already having almost a million followers. These followers definitely weren’t following because they wanted an art piece — how does this play into the engagement and experience? Did anyone unfollow/react adversely?
How much of this was planned out in advance? How long did it take to plan the project? Were the producers in on it?
Here we chatted about the making of a netprov which is fascinating but not necessary for this post. Our #elit class will have the opportunity to see this first hand in a few weeks!
A quote from your website: “We ask: how good — how funny, how deep, how moving, how memorable — can netprovs get?” Do we have an answer? Do we need a connection (ie. Spencer being a real person and the tie to you with Workstudy Seth) to reality to make them moving?

Does it depend on the reader?

Today, how should the project be read for maximum effect? It would definitely be more memorable to have it popping up in real time on your phone. Is it like a performance art piece in that when it’s over it’s over?

Back to then versus now. This conversation could go on eternally.

We get to a point in the piece when the character is revealed to not be Spencer, yet the followers are still interested. How might this change if they knew it was all a hoax?

It’s rare that people are pleased when the curtain is pulled back. Blurring reality is part of what makes it what it is, so it’s good we don’t know. They’d probably be mad, maybe lose interest? I would just want to know the details.

Lastly, Spencer just made his newborn an Instagram account (much like DJ Khaled is posting on his baby Asahd’s behalf). Has the form run astray, or are people just not sure they’re netprov-ing? We see stuff like fake celebrity twitters all the time; people just retweet stuff that looks legitimate. Is this a form of (albeit not purposeful) netprov? Is it art if people are using it for retweets? Will any art form ever be sacred anymore … if any ever were?
My conclusion: Probably not. But again — were they ever? In any case I’m happy Gunner Pratt’s IG is verified.

As Marino said, we’re “taking part in the performativity that is existence.” “With netprov, you can play in a safe space that’s supposed to be artistic. You can play with the idea of producing yourself. Anytime someone tweets “I hate Spencer Pratt” they’re playing a game and hating the persona — and creating it.”

With netprov, you’re able to enter a realm of people’s minds and intervene in popular culture while still having the ability to be creative. You encourage others to be creative as well. It makes you wonder about yourself; it makes you wonder about the whole freakin’ world. There are still many questions, but — like with a netprov  —incompleteness is part of the fun.

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Now onto the next order of business …

Every time I sit down to figure out what I want my final project to be a million ideas rush through my head and I get excited about something new. I know I want to do something that has to do with netprov (surprise surprise), and I want to use my own social media accounts as base. One idea I have that I want to workshop a bit is taking my own Instagram account and writing a sort of “behind the scenes” conversation behind the curation of it as a conversation between myself and an “Instagram curator” I hired to make my feed spectacular for my time abroad. The idea is that someone else is behind everything I post, telling me what would be the most “me” and helping to create this perceived image of my self and my time in Norway. I can incorporate elements of my own trip planning such as a linked google calendar made “public,” my personal twitter, email and call logs, and can either use my already posted Instagrams and work backwards changing captions and “commenting” as curator or create a new account. I know I need to figure out logistics (and maybe tomorrow I’ll have a completely new idea!) but I’m liking the sound of this for now. We’re all really playing curator to our own lives online, so let’s bring it back around.

Façade and my own elit

Façade is an award-winning AI-based game where your choices of conversation decide whether the married couple (the main characters of the story) stay together or not.

After some downloading issues and whatnot I finally got to install the game. Five minutes later I was ready to dive into the life of the married couple… The loading screen certainly took longer than the promised “no more than 60 seconds” (and the computer I used is not usually slow, so I figured it was the game)… After restarting the game a few times, I still could not actually get to the game-part of the game, so eventually I moved to another computer – this time with a Windows 7 os instead of using a Mac.

This is the first time I have downloaded a piece of elit and I must say I prefer being able to discover them online without having to download it. Though, eventually, about an hour after I would have started discovering the piece if it would have been online, I was finally ready to discover Façade… Well, at least if it was not for the “Decompressing Façade sounds, this may take up to 30 minutes. Thanks for your patience!” thing that popped up just when I thought the game was done installing. And honestly, I was about to run out of patience.

A while later I could finally try Façade, and my expectations were actually rather good despite all the installation issues.


The game starts with Trip inviting me over to his and Grace’s apartment at eight pm the same night. (The first time I went through the game I did not have sound on and saw only a black screen, so it was the second time I actually discovered this.)

As I was choosing my character’s name, I could not find anything close to my actual name so I just went with Liz eventually. Trip and Grace starts off the story with an argument, and it is obvious they argue a lot judging by the way they talk to eachother. Trip greets me, then goes to get Grace – and once again they start to argue. I feel like a bother to them already.

The first piece of information I gather is that Grace seems nervous and judging by the answering machine on their phone they just moved into a new place together. It also turns out I was the one to introduce Grace and Trip – ten years ago – during senior year in college. That is interesting. They then start to fight right in front of me, how rude. Without me getting the chance to say or do anything (as I was just observing them), Trip pushes me out of the apartment. Again, how rude.

The second walkthrough went a bit better. At least they served me a drink. But Grace seemed just more miserable as time went by.

When I tell them to stop arguing, Trip keeps asking if I think he is angry… Arguing and angry are two different things, but ok. Also I tried my best to help them, but after listening to them argue and realizing that Trip must be very controlling, that Grace is not happy, and everything… I did not want to save their marriage, honestly.

When I asked Grace if she is happy, she asks if I think she is depressed. So obviously I was having some trouble communicating with these two. I wonder if this is intentional from the game’s side or not.

After all, these two just kept arguing no matter what I did. At least that is how it seemed to me. The second playthrough ended with Trip leaving the apartment saying he wanted a divorce. And after my second walkthrough, I was done listening to people argue for today.


Did I like Façade? Kind of. It seemed hopeless to save their marriage even though I read it is possible. Honestly though I did not really want to, they did not really seem good for each other, and Grace seemed really unhappy. In the end Trip actually yelled at me, saying I caused arguing for saying how they were angry and depressed – which I never actually said, so maybe the communication part of the piece was not the best (unless this was intentional).

So this elit, with all the arguing, did not really get me in the best of moods. Though I will probably end up playing it again someday just to see different outcomes. Façade is alright, but far from my favorite.


For the second part of this blogpost, I am to talk about what I want to do for my own piece of electronic literature. Since the beginning of the semester I have wanted to create a work of hypertext fiction where one makes choices that influence the story, but had no ideas on themes or topics or anything on how to actually create it.

After a while I discovered Twine, and tried it out for about an hour or so just playing around. And even though I am sure that using html and css all on my own would give me more freedom and ways of customization, I think Twine will be easier and more problem-free. Therefore, unless we are introduced to something even better, I will use Twine to create my hypertext fiction.

My piece of elit will consist of many small poems (usually four lines each) where the reader decides where to go next by clicking a word within the poem and then getting a new poem to read along with a few new clickable words within that poem. At least this is my idea right now. The choices will change the story in some way, and have twists and turns – some more expected than others.

The theme of the piece will be life. The reader will be able to create a life story and decide its path by making choices. The story will start out with the main character as a child, through teenage years, into adulthood and if they choose wisely – elderly.

I have several little poems written already – some which I am happier with than others. I am not sure if all of them will be used, but even if I do use them all I imagine I still need more. I have been writing poems on and off for some years now, but most of them do not fit into my piece of elit – meaning all poems in the piece will be new and written for the elit.

The design I imagine will be simplistic, both because I want the reader to focus on the text and because I think in this setting it will be a nice metaphor when it comes to the topic of life.

I am not sure of how many poems I will need, but I think that will become more clear as I start working on the Twine and decide exactly how the poems are pierced together into stories.

Writing poems that reflect a character of all ages will be a challenge, but I think a fun one. I think child will be difficult since it has been a while since I was a child myself, but maybe elderly will be even more challenging since I have never been one. Nonetheless I look forward to giving it a try.

All in all, I am really excited to create my own elit!


Thank you for reading.



#5 Pretending to be someone, pretending to be themself

In this weeks elit class we talked about pretending to be someone who is pretending to be themself by looking at Being Spencer Pratt, a netprov where reality star Spencer Pratt let Mark C. Marino and Rob Wittig take over his phone as a young, british poet while he was locked in The Celebrity Big Brother house.

My first thought when hearing about this piece, was that someone was making fun of Spencer Pratt. I would have never in my wildest dream imagined he was in on it. To me Spencer Pratt is the ultimate bad boy (and not in the good sort of sexy way, just as a horrible person), I remember watching The Hills when I was younger, and he was always the cause for the worst drama.

But oh how young and innocent I was. Obviously reality tv is not real, and Spencer Pratt was acting himself on the show. If he wants to stay in the spotlight, he has to still be the character, but now he has to keep it up on his social media (or at least a more mature version of it). I think that it is really interesting, that there is a thought behind his life on SoMe, that all of it is almost acted, and that the public never gets to actually peak in to his life.

This pretending to be yourself business has inspired a bit of my own elit piece for my final project. I’ve always sort of admired, but also pitied all the girls who overshare on Instagram (like Karen, we don’t care what you had for dinner #vegan #dinnertime). I think there must be a huge need for attention, that maybe comes from a huge insecurity behind the need to share everything, all the time. I therefore want to do that, through a fictive character, whose face is never shown. At the same time I want to use twitter to represent what she is actually thinking, and expose her insecurities. I think the story needs a climax or an ending in some way, but I’m still working on that bit.

The big question with these kind of pieces is if they are actually literature. I don’t know if there is an actual answer to that question. In a way everything with text is literature, if there is a story in it. But on the other hand using Twitter and Instagram won’t make a coherent story, unless people actually go through it all the way. Either way I think there is a narrative on all social media accounts. It’s a way to get a glimpse into someone’s life or at least the story they want to tell about themself.

I think the main thing I learned this week is that I should get better at not judging a book by its cover, which is ironic in a class where the books are not on paper.




Façade is a video game that takes place in the apartment of a couple, Trip and Grace, that invited the player for a visit. Then the conflict arises, Trip and Grace start arguing, and using language processing software the game allows the player to interact with the couple and their argument. Now there is three outcomes to this game, as far as I have understood, you can get kicked out, you can get them to reconcile or you can drive them to split up.

I have to be honest, I never got any other ending than getting asked to leave/kicked out, I watched someone else play and get the “true” ending the “win”. It was very cool, I don’t know how long I would have had to play to get to that ending though, it was a long process.

Façade 2

The story.

The story about a couple with problems and you as a player trying to fix it is dependent on how invested you get in finding out the “secrets” of the game. I was done with the story after the first attempt, the jagged way the name you choose, and the rest of the line is connected is not always smooth, as seen in the video I linked above. It was still cool to see the secrets, but I don’t think I would have played the game for hours to get there myself.

What I liked.

The way your input is read and interpreted by the AI, is what I find really interesting about this game, the AI is quite good at catching the meaning of what you want to say, even if it’s very spelling sensitive. After reading  about the AI I was interested to find that it does not just recognize the words and sentences, like a chatbot might, but it tries to understand the meaning behind and using that with the context it was said in to create an appropriate response. Very cool stuff, I am going to read more about the AI aspect later. I was amazed by how much work that is behind the AI and text processing and analyzing.

All in all.

I was not that griped with the story, I think it needs you to either get emotionally attached to the characters or to get invested in the story, I just looked it up on YouTube. But as a whole I think its wort checking out.





Class project.

Now for a bit about my project for this class, I am planning on making a small 2D game, I am thinking about using unity for this project, but that’s not set in stone.

I am planning on making electronic literature without much text, there will be text, but I want it to be about the ambiguity that is people. I am thinking the game will be a small map with a few other characters (5-7), that all live in their own biomes, and the player can interact with the different characters with “dialogue”. The dialogue is not full lines of language with meaning, the dialogue is going to be obfuscated, most likely different versions of “bla bla bla”.

Now the point of this is to make the player interact whit these other people without thinking about meaning, but reaction. The characters will change appearance vice, in reaction to the player input, there will also be a limitation of interaction, representing the limited time a person has in life.

I don’t know how good this “game” actually will be, but this is my aspiration, this is my artistic vision for it. It remains to be seen how much of this will work out in the end.

High Muck a Muck

I spent some time  interacting with the electronic literature High Much a Much: Playing Chinese, and I will in this blogpost share my thoughts and observation regarding this interactive poem. 


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The website adresses racism, intercultural exchange, imitation, history and economics regarding Chinese immigration to Canada. The story is about Chinese immigrants who move to Canada, where their culture is thrown away and illegitimate.

One of the creators of the piece is Fred Wah, who grew up in Nelson, B.C. Canada,  working in his father’s Chinese restaurant. He is passionate about telling the story of his «blood ancestry» and his «passing» privilege mixed with the complexity of his racialized family identity.

The piece relies on its modality; it is not just a narrative – it only makes sense by combining the different modalities. The piece relies on its pictures, the meaning in the text, the sound and the non-linear narrative.

The webpage has calming, traditional Chinese music from the start-page and through the narrative to set the mood. The music is mellow and kind of melancholy. The drawings are soft and hand-drawn, and it looks like the artist used watercolors, creating vibes of tradition and older times. The pages looks like old paper, and the artist is using traditional artifacts to create a vivid narrative. You get the feeling of it being a folk-tale; an old story which has been passed down orally and which reveals the customs of these difficult times and their culture.

A multimodal text will always be a product of a culture. By combining the visual and the verbal, the artists creates a deeper understanding of the content; the sadness and hard times of the immigrants. When reading this interactive narrative the modalities creates different expectations to each other. It is important to publish this kind of storys to raise awareness of the struggles of ethnic group meeting western culture, fight against racism and prejudice, and in this case raise criticism in Canada and internationally.

High Muck a Muck is like a kind of a game whose primary purpose is something other than entertainment. When you do it in this way and the readers interact with the story, puts themselves in the refugee shoes and through hyperlinks read about what the refugees went through, it makes it real. The piece make an impact and engage the players.

#4 High Muck a Muck: Playing Chinese

This week it is my turn to present one piece of Elit to my #elitclass. I spent quite some time figuring out which of the pieces from the ELC I should present – but I always found my way back to one piece I checked out at the beginning of my journey: High Muck a Muck: Playing Chinese.
I’m not sure why I always got back to this specific piece; maybe because I liked the aesthetic of it, maybe because I liked the theme(s) of the piece, or maybe just because I had the feeling that there was more to be discovered than I already had? Anyway, I decided to go for it.

But before we dive into the piece, let’s start with some basics.
High Muck a Muck: Playing Chinese is an interactive poem consisting of a website, 8 videos and an interactive gallery installation. The piece is an interdisciplinary collaboration of 9 different Canadian artists, writers, designers and digital developers who shared and transformed each other’s work over 3 years, starting in 2011.  The project was first presented in Nelson, British Columbia, Canada in 2014 and was even exhibited at the 2015 ELO Conference in our beautiful Bergen. Oh and by the way – the project has won the 2014 Spark Creativity Award from BC Creates as well as the 2015 New Media Writing Prize – need any more reasons to check it out? 

No? So let’s start 🙂
The first page of the piece welcomes us with the request to „take a gamble and enter through the Pak Ah Pu lottery card.“ According to Wikipedia Pakapoo (or Pak Ah Pu) „is a Chinese lottery game poplar in Oceania in the 19th Century, including on the Victorian Goldfields. A pakapoo ticket is bought which contains rows of characters from the Thousand Character Classic (an ancient poem in which no two words are repeated). The master ticket is kept hidden and is marked by the organiser of the game. The player marks a number of characters on their ticket. The ticket closest to the master ticket wins.“

High Muck a Muck
Source: High Muck a Muck. Playing Chinese

When we enter the piece we get confronted with the first of many poems…interpretation anyone?  (Oh and could we just take a moment to appreciate the pretty font?)

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Up next we find the „main page“ of the piece, a human torso with several blue droplets. Five of the seven darker and bigger ones signify Pacific Rim, Victoria, Vancouver, Richmond and Nelson, while the other two are called „Canada“ and „Everywhere and Nowhere“.

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Brittainy Newman points out that „[i]n Chinese medicine it is said that vital energies flow along the human body’s natural pathways, specifically linked to human organs. The cities within British Columbia are labeled on top of a drawing combined with watercolor of a human body, essentially personifying these various links with specific themes, thoughts, writings and their corresponding characters.“  (And again, could we just stop for a second and admire the pretty drawing? Or am I the only one appreciating this kind of hand-painted style?)

What is it about?
Maybe the name as well as the Chinese symbols at the beginning of the piece already gave it away, but the main topic of High Muck a Muck: Playing Chinese is the historical and contemporary Chinese immigration to the west coast of Canada. According to Nicola Harwood, the curator and one of the artists, „the project approaches immigration as ‚a journey towards a new identity‘ fraught with tensions: between the old way and the new way, between races, cultures, neighborhoods, and also between different groups of Chinese immigrants such as the old laborers struggling to save money to bring their families to Canada and the new wave of immigrants from Hong Kong that come with cash and invest in property“ (
According to the authors‘ statement on the ELC web-page, „High Muck a Muck: Playing Chinese troubles the cliché of historical tales of Chinese immigration to North America’s ‚Gold Mountain‘ by juxtaposing this classic narrative of struggle against one of mobility driven by the exigencies of contemporary global capitalism“ – but more on that later in class.

Because we’re gonna explore the different parts of the piece together, I just want to show you one of my favorite parts of High Muck a Muck:

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If we start discovering the Vancouver-part from left to right, the first thing we’re gonna find is a video called  „Diaspora“ by Nicola Harwood . The term Diaspora is one of great importance to the whole piece and refers to „a scattered population whose origin lies within a smaller geographical locale. Diaspora can also refer to the movement of the population from its original homeland“ (thank you Wikipedia). Up next is a text which is hidden behind two men – „All dressed up and clean-shaven with no where to go, a troublemaker, that one, a yellow peril, … an Asiatic Exclusion League problem,“ –  in my opinion, this quote underlines how High Muck a Muck   „challenges the racist paradigm of an all white Canada into which Asian immigrants enter but are never fully allowed to arrive“ (Nicola Harwood) as it presents several (old-fashioned) stereotypes, such as an Asian being a „troublemaker“ and a „yellow peril“.
(As I would like for us to discuss the theme and the literary value of High Muck a Muck in class, I will not provide you with a in-depth literary analysis of the poems here.)


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The Navigation
Navigating High Muck a Muck is rather easy, even though sometimes it can be tricky – some texts disappear after a certain time and if you were just busy with something else chances are you might miss something. Basically every building, person, and icon in this piece is clickable or hides something; sometimes it’s a part of a poem, sometimes it’s a video and sometimes it’s an audio-piece. The reader can click on one of the blue droplets on the torso and can read the poem either by discovering its pieces through specific characters or simply read it entirely by clicking on the red book in the left corner. Even after I have now spent several hours working on this piece, I still feel like I haven’t found everything there is.

Random thoughts
I think High Muck a Muck is the prettiest Elit I have discovered so far. Its design was the first thing that drew my attention to this piece and I still enjoy the handwritten poems, the watercolored drawings and the way the colors are rather simple and calm.
At first, I also really liked the traditional Chinese music in the background; but after I spent a few minutes exploring the piece I had to mute it.  In her Directory Entry, Brittainy Newman states that „[t]he music is shown with purpose, supplementing the despair in Fred Wah’s writings and the repetition of the music on loop forces this upon the viewer“ and I get the point  but still, the repetition of the music started to kind of annoy me after a while.
Another thing I enjoyed was the multimediality of the piece. Especially the oral histories one can find as an addition to some of the poems were nice to listen to whereas I found some of the videos hard to follow. Their length of 4-6 minutes sometimes made it tiring forme to watch them if I couldn’t grasp their context right from the beginning.

And what’s up with the name anyway?
The term „High Muck a Muck“ refers to „a Chinook jargon for somebody in a position of authority who thinks he is more important than he actually is“ ( Why does it relate to the topic of this Elit? Great question! That is something to talk about in class as well.

I’m gonna update this post after class with the things we had to say about it – so stay tuned 😉


Konsoll 2017 and Jake Elliott

Last week I volunteered at Konsoll Bergen, which is a videogame developer conference, the conference is a yearly event, and it was my first time attending. Now I wanted to look at a lot of different things at the conference, but one of the talks, really resonated with me in a e-lit way. That was the talk on playful text, by Jake Elliott.



Jake Elliott.

Jake Elliott makes games, music and artware, he is part of the team that makes Kentucky route zero, a game that has won several awards, among them best narrative from Game developers choice in 2015. Kentucky route zero is a point and click narrative driven game, it is set in Kentucky and the focus is debt and the people in debt, in a quote in vice the team states:  “Our experience is pretty typical: student loans, medical bills, confusing credit cards, stuff like that.”

The interesting bits of his talk is the part about generating dialog, and using generated dialog to change the story, he talked about a random drink generator they made for the game. They made tables filled with different types of alcohol, and other tables for ingredients, and by random generation you get a, pretty much, unique drink. But that is just an example of what they are doing in playful writing. At one point they have the player choose answers in a phone call, but the other side is scrambled, and you must select the answer without hearing the other end. This sets the player in charge of what they think the conversation was about.

Changing the narrative with dialog choices.

All the dialogue choices you make does not change the story in a huge way, but small things are remembered, and will come back in later dialog or text, it’s something they could not do easily if they had voice acting for the entire game. But the small things are remembered, and sometimes used later, but not always. Jake talked about creating things that not many people get to see, or not get the complexity of. I don’t think that’s a bad thing, another speaker, Ryan Duffin, from dice, talked about how much time they put into animations, and how he felt that if they spent much time on something it was a shame is not everyone would see it. On the other side of that fence is Kentucky route zero, they have a musical piece that only plays if you walk far enough out on a balcony, and that music was specially written and recorded in a church, but still they put it in a place where many people could miss it.

The writing.

Jake Elliott talked about other forms of playful writing, and it was then I noticed how much it was like electronic literature, he showed examples of hypertext, and working with twine. He mentioned Hundred Thousand Billion Poems, which is something we have looked at as inspiration for random generation of poems.


I am really intrigued by randomizing and using that in text, making it work, I will add the link to Jake`s talk as soon as it is online.

articles about Kentucky route zero

Thoughts on High Muck a Muck (from Dublin!)

Well, going off only the title “High Muck a Muck” I was not sure what to expect. For some odd reason I imagined a story involving a duck (I see the connection but I’m not happy that my brain worked that way), and I know that people sometimes refer to bossy folk as “high muck a muck.” The piece really had nothing to do with either of these things … so why the title?

First impression: the badges on the bottom of the title page struck me. The piece has won some prestigious-looking awards, and much like a book with a positive NYT review on the cover my feelings were swayed before I even dove in. I expected it to be good.

Aesthetically speaking, I was pleased. (No neons! Finally!) The worn paper background and the watercolor details were lovely. I love the look of mixing digital and hand-drawn (or appearing hand drawn) elements in an online setting and hope to explore this for my own piece during the semester. Also, I would probably buy a poster of any of the illustrations. That map on the bare chest? Swoon.

So I clicked around and I read the pretty poems and listened to the music. There was “Everywhere and nowhere,” an almost four minute video where the camera zoomed in on a still of an old man and zoomed out to show a baby. While there were a lot of easy allusions that anyone could grasp, I couldn’t help but feel I was missing out on some deeper meanings — or maybe hoping there was something more. Why are the map points located on specific areas of the chest? It’s not like “everywhere and nowhere” had to be the neck. Again, I like to think there’s something more.

I guess what I need to say — though I hate to say it — as that while the piece was lovely I don’t think I felt as much as I was supposed to. There’s something with a lot of e-lit pieces where I can’t quite reach a level of full investment; when I know there are easter eggs I rush to get through everything. This However, the oral histories hooked me. I could just close my eyes and listen and I loved them.

Tomorrow will be spent traveling home to Bergen from a trip I planned before I joined our lovely e-literature class, so while I’m sad to miss discussion on the piece I’ll hopefully catch a recap on Wednesday.

And my favorite line? “I’m just a little chihuahua against a german shepard. That’s okay. We’re all dogs. Just different size.”

High Muck a Muck

First of all I had to look up the phrase “high much a muck”. I can only recall one other instance of ever hearing this and it is in the song Wonderboy by the band Tenacious D. I even had to look up the lyrics of the song to be able to compare the two different usages. In the song the lyrics go: “High above the mucky-muck, castle in the clouds. There sits Wonderboy, sitting oh so proudly.” The way the phrase is worded is different but I think there’s room for interpretation there.

The definition of the phrase “high muck a muck” goes like this however; “an important, influential, or high-ranking person, especially one who is pompous or conceited.” That’s all fine and dandy, but the issue comes when interpreting the entire piece of electronic literature itself.

Before I start off talking about the parts I didn’t get about “High Muck a Muck”, I’d like to point out what I appreciated the most: the presentation. Talk about a visually gorgeous work of e-lit. The combination between water color painting and a map looked stunning, and the combination of an exposed body serving as the landmass across a map looked pretty cool—and not to mention the “hotspots” placed across the map giving the reader different responses depending on their shape and size.

This piece made me think several stories I’ve heard—but admittedly haven’t researched enough on my own—of the rail road work in the United States in the period where the rail road companies worked to connect the west coast with the east coast, and create a “highway” across the mainland. This thought came to me first and foremost because of the combination of the music—which sounds like the combination between a melancholy and tranquil song played on a wooden flute—and the various references to Asian culture and heritage spread across the work. (There’s also a gong placed in the a few times, which immediately directs me to an Asian.)

And then once you click on the option of “Canada” we actually get to see rail roads, people carrying tools, and a sigil that says, “Canadian Pacific Rail Way”. Like I mentioned earlier, I admit to not know much about this, but with the combination everything I’ve seen in this piece I’m thinking the piece is predominantly working around the immigration of people of Asian to the west—in this case Canada, and even more specifically; Nelson, Vancouver, Richmond, and Victoria.

The stories that I’ve heard surrounding the rail road work in the United States were horrendous. We’re talking working conditions that killed people, and companies that would rather see their workers die in the ditches so that they could get out of paying them for their work. Apparently, if memory serves me right, Asian immigrants were exploited because of their willingness to accept awful work for awful pay when others would refuse to work under the same conditions.

Although I haven’t been able to go through the entire piece as much as I’d like to, I’ve found that I enjoyed it so far and I’d like to highlight the aesthetics and atmosphere surrounding the piece the most, and I ended up placing the literature part second to the presentation—for now.


First of thanks to Dr. Mia Zamora that let me write about Konoll 2017 in this weeks blog. Second this blog post is late and short  because I having problem with an bacterial infection in my foot that im dealing with and having some problem with , anyway lets start.

Konsoll started with Jo-Remi Madsen talking about the 10 years of developing Owlboy and how about not to lose hope when you see no end in a project. For me this was alot of fun. As a studnet I hav alot of deadlines and its easy to lose hope, but like Jo-Remi said its not about have hope to finish a project but make it a goal to finishh the project and this can be hard.

The one presentation that I like most was Jake Elliot Plyful text. noe as an E-lit student I undersatnd how text can work in videogames and e-lit. Jake Eliott talket about how branching worked and how  you make different text choose with help of hypertext and patterne poetry. His game Kentucky Route Zero is a game that easily can be called an e-lit bcouse the game plot is about how you interact with people wih the help of text patterns. A eyeopener for me was when I talked with him after his speak about different generes and video games and E-lit was wheen I asked him what he tought about his game as an e-lit, he said: I like how different people can have different opinions about genre. I just make it, its up to other people to define what is it.” This was an eye opener for me because I have always tried to see the different in e-lit and videogames, but he said that hes just making a thing that he like and he dosent care what it is as long as he is happy. I think thats is importhant that people make e-lit pieces or videogames without thinking if it is this or that but just a thing that you happy with.


The rest of Konsoll was alot of fun I loved to talked more about it but his is all i manage right now. sorry about that and see you soon