Fictions

In writing about virtual worlds and video games recently, I found myself reaching deep into 'the canon'  to illustrate the enduring appeal of imaginary worlds. Using the Tempest I rehearsed the idea that dramatic performance, and the imaginary world that is conjured up by it, is an 'insubstantial pageant', with a cast of characters involved in a sequence of events that we temporarily believe in. Following this I argued that a play could be seen as a prototypical virtual world - as an event-space that is real enough, and takes place in real time with all the material supports of a theatre or similar venue. Members of the audience are embodied and present, but yet the world they are transported into is constructed in their individual imaginations, and filtered through their own particular lived experiences. Of course video games are different in all sorts of ways- ways which I won't go into here, but my intention was to argue for the familiarity (and cultural history) of what you might call imagined worlds. Attending the launch of the Reading Digital Fiction exhibition on Thursday evening, I was struck by how a different discipline works its way into the same territory. In her succinct opening remarks Astrid Ensslin reminded us how digital fiction sits somewhere between literary fiction and video gaming, as well as how print fiction lives on whilst digitally-born narrative continues to evolve.  The common thread of how new and old narratives work to engage our imaginations emerges again, along with the idea that digital technology often end up troubling existing categories such as the distinctions between games and stories, art and life, the real and the imagined. It was a successful thought-provoking event, and underscores the fact that digital fiction is now old enough to have a history.