“Indie Gaming” exist and this sub-genre seems to be following the typical indie-anything trajectory:
-A small group of loosely collected developers make games that are exciting and raw and weird. They have no hope of cross-over success. And that is beside the point.
-A major press organization finds a name for this aggregate product and roughly defines what it is and what it is not.
-Some products achieve cross-over success.
-Things claiming to be indie games flood the market in the secret hopes that they will be cross-over successes.
-The whole definition collapses. And why not?
Anyway, there’s a whole lot of stuff to wade through and some of it is doing some very intriguing things with text. A lot of digital-poem text/image interface beasts I’ve run into in the past have a lot of fun by betraying our expectation that anything on a computer screen should have a rational interface. They are “difficult.”
Meanwhile, on the other side of the digital poem / video game divide, those from game development backgrounds have been working to complicate traditional notions of the game and, often, linearity by having outcomes depend on manipulations / responses to language.
I don’t know if its “poetry,” but I sure as hell wish I was fooling around with this stuff when I was twelve instead of playing Wall-Street Kid.
A few examples:
There’s nothing more beautiful than a dead girl. Poe & Daniel Benmurgui agree.
Maybe I’ll make my Introduction to Creative Writing Kids play with these.
Thanks to Geoff for pointing me to Logos/Ergon.