MEXIQUE _ MONTERREY / LECTURE : INTERACTIVE FICTION AND SAMPLES

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How to produce, and think, of the fragments which have between them reports of difference in so much than such, which have for reports between them them clean difference, without reference to an even lost original totality, nor with a resulting totality to even come?

(Maurice Blanchot, L'Entretien infini, Gallimard, 1969, pp.451-452)

The engine of the interactive fiction is not the action, that it is the action on the screen or the action of the user.It would be naive to think that this one becomes "the hero of the history", that the principle of action refers on him.
Indeed it is very difficult, as author, initiator, programmer of the project, to then incorporate the events in the form of actions bus one reduces the possible ones, one limits them to what is registered.All this master key like if that, which occurs, cannot be registered.And there is a major paradox:the new non-linear storage mediums tells stories by what is in the defect even of the inscription.One will not name that the ininscriptible one, because that will sound like new a innefable, but the defect even of the memory.
All then occurs like if the various plans of the interactive fiction, actions, events, motivaions, etc could not never meet, to merge in a definite form.It is perhaps for this reason that the numerical fiction is in continued training, always and still.It resoud not existential flow in a catch of form (a history coherent and structured) but in a formation (of the hardly started stories and structurables, in structuring).
To continue in this infinite doubt, in this ontological disorder, it is to hold the gained step.