| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | AA | AB | AC | AD | AE | ||
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1 | Writing Games / Unsorted | This is a list of games that produce text and texts produced by games. It also contains some things that are nearly those things. | Taxons | Initial codebook / tags (for games) | ||||||||||||||||||||||||||||
2 | Game Name | Constraint Description | Author | Link/How to Find | Year Published | Category | Collaborative / Solo | Digital / Analog | Notes | Added By | Is a Game? Does it involve systems? Is there an operational logic? | Is a Constraint? (If not a game) | Do the players produce text? | Is it a work produced by a constraint / game? | Contains prompt set | Conditional prompting? Prompting based on game state / system state | Aleatoric ? (depending on the throw of a dice or on chance; random.) | Send/Recieve writing? | Self-reflection (explicitely about self reflection) | Player writes a prompt | Player is anonymous | Digital / Analog print and play = analog rn | Writing Environment (provides graphical / audio framing) | Some visual / audio / artistic cues | Is the resulting work interactive? | Suggest that you write... | ||||||
3 | Gadsby | Write without the letter e | Ernest Vincent Wright | Solo | Analog | a 1939 novel by Ernest Vincent Wright, written without words that contain the letter E, the most common letter in English. A work that deliberately avoids certain letters is known as a lipogram. The plot revolves around the dying fictional city of Branton Hills, which is revitalized as a result of the efforts of protagonist John Gadsby and a youth organizer. | No | No | | Yes | No | |||||||||||||||||||||
4 | La disparition (1969) / A Void | Write without the letter e (again?) | Georges Perec | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | | | “The most famous lipogrammatic work is Georges Perec’s novel La disparition (1969), a three-hundred-page book the author composed without using single “e” (translated, remarkably, into English by Gilbert Adair as A Void).16” ([Eburne and Epstein, 2014, p. 9](zotero://select/library/items/GZUNYI4M)) ([pdf](zotero://open-pdf/library/items/GJ8X2VX8?page=10&annotation=CJMMXAFD)) | | | | Yes | | ||||||||||||||||||||
5 | The Last Tea Shop | Prompts via draw cards | Spring Villager | https://springvillager.itch.io/last-tea-shop | 2021 | Optionally Collaborative | Analog | classic solo journaling game | oliver | Yes | No | Yes | No | Yes | Yes | Yes | No | No | No | No | Analog | No | Yes | No | ||||||||
6 | Feathers | sets of moves given character role | Thursday Garraeu | https://thursday-garreau.itch.io/feathers | 2019 | Collaborative | Analog | found because it reminds me of fluxus score where the instructions are a poem | oliver | Yes | Yes | No | No | Yes | Yes | No | No | Yes | No | No | Analog | No | Yes | No | ||||||||
7 | Viscious | roll a die to get a random scenario as a prompt | Budget Versailles | https://budgetversailles.itch.io/vicious | 2022 | Collaborative | Analog | found while looking for a regency genre game to play w friends | oliver | Yes | No | Yes | No | Yes | Yes | Yes | Yes | No | No | No | Analog | No | Yes | No | ||||||||
8 | Blackout | die roll decides what to blackout | Budget Versailles | https://budgetversailles.itch.io/blackout | 2022 | Optionally Collaborative | Analog | found while looking at who made Viscious Really an implementation of the broader Blackout Poetry | oliver | Yes | No | Yes | No | No | Yes | Yes | No | No | No | No | Analog | No | Yes | No | ||||||||
9 | Princess with a Cursed Sword | prompts from tarot card draws | Anna Anthropy | https://w.itch.io/cursed-sword | 2020 | Solo | Analog | oliver | Yes | No | Yes | No | Yes | Yes | Yes | No | No | No | No | Analog | No | Yes | No | |||||||||
10 | Princess with a Cursed SRD (System Resource Document) | prompts from tarot card draws | Anna Anthropy | https://w.itch.io/princess-sword-srd | 2023 | not a game - guidelines for making your own game | | Analog | oliver | No | Yes | Yes | No | Yes | Yes | Yes | No | No | Yes | n/a | Analog | No | Yes | Yes | ||||||||
11 | The Quiet Year | prompts/events from card draws | Avery Adler | https://buriedwithoutceremony.com/the-quiet-year | 2013 | tabletop RPG | Collaborative | Analog | map drawing game, prompts center worldbuilding no "writing"... | raven | Yes | No | | No | No | |||||||||||||||||
12 | Exquisite Corpse | adding to a composition without seeing the previous addition | André Breton and friends, fellow French surrealists | https://en.wikipedia.org/wiki/Exquisite_corpse | 1925 | Collaborative | Analog | also played as a drawing game with the same base constraint (being unable to see previous collaborators' additions). sometimes played with additional formal constraints (i.e. Adj, Noun, Verb, Adj. Noun) | raven | | Yes | Yes | No | No | ||||||||||||||||||
13 | Story Cubes | storytelling game using dice-rolled symbols | Rory O'Connor | Story Dice - a creative storytelling tool from Dave Birss https://www.storycubes.com/en/ | 2004 | storytelling game | Optionally Collaborative | Analog | raven | | | | No | No | ||||||||||||||||||
14 | Pilish | lengths of successive words represent the digits of Pi | James Jeans | Writing in Pilish | 1900s | Solo | Analog | raven | No | Yes | Yes | No | No | |||||||||||||||||||
15 | Abecedarian | each word/line/stanza guided by alphabetical order | https://poets.org/glossary/abecedarian Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | Solo | Analog | Chaucer writing an abecedarian, | raven | No | Yes | Yes | No | No | |||||||||||||||||||
16 | N + 7 | replace each noun in a text with the seventh after it in a dictionary (or some other word bank) | Jean Lescure | Jean Lescure, from “The N+7 Method (An Individual Case of the W±n Method)” - McSweeney’s Internet Tendency | Oulipo, W + N (shifting a word, W, by N places in a dictionary) Constraint | Solo | | online demo: http://www.spoonbill.org/n+7/ | raven | No | | | No | No | ||||||||||||||||||
17 | Metro poems | written while riding the metro, lines/stanzas ideated between stops and only allowed to write when the train is not moving | Jacques Jouet | Metro Poems | 2001 | Solo | Analog | person observes while on a metro only allowed to "write" text when stopped | raven | Yes | Yes | Yes | Yes | No | ||||||||||||||||||
18 | Thousand Year Old Vampire | prompt-driven, prompt page is determined via dice roll, memories you jot down are liable to change/be forgotten | Tim Hutchings | https://thousandyearoldvampire.com/collections/basic-book-selection/products/thousand-year-old-vampire | 2020 | journaling game, tabletop RPG | Solo | Analog | you're a vampire detailing events that have occured throughout your undead life, trying to preserve your memories, from https://heartofthedeernicorn.com/?v=2f344a923437 | blythe | Yes | No | Yes | No | No | |||||||||||||||||
19 | The Machine | your character is meant to fail; last journal entry must be incomplete, writing ideally reflects descent into madness | Adira Slattery | https://adira.itch.io/the-machine | 2020 | journaling game | Optionally Collaborative | Analog | players take role of an inventor obsessed with making an impossible machine. in multiplayer, you must work in one journal that's passed down to the next player to continue (to "continue" their character's unfinished work). meant to be played over a prolonged period of time | blythe | | No | Yes | No | Yes | Yes | yes? | No | No | No | No | Analog | No | yes? | No | charictater archetypes? narrative possibilities | ||||||
20 | A Mending | prompts from card draws | Shing Yin Khor | https://sawdustbear.itch.io/a-mending | 2021 | "keepsake game" | Optionally Collaborative | Analog | mapmaking with needle and thread (ideal) or pen and paper, about memories and friendship keepsake game - no 'pen to paper' / writing | blythe | | No | No | No | No | |||||||||||||||||
21 | Field Guide to Memory | collaborate with game makers (at least during the Kickstarter) | Jeeyon Shim, Shing Yin Khor | https://www.kickstarter.com/projects/jeeyonshim/field-guide-to-memory , https://jeeyonshim.itch.io/field-guide-to-memory | 2021 | "keepsake game", journaling game | Collaborative | Analog | made by same person who made "A Mending" | blythe | | No | Yes | No | No | |||||||||||||||||
22 | Fiasco | prompts from card draws, determine relationships with other players' characters through card draws | Jason Morningstar | https://bullypulpitgames.com/products/fiasco | 2009 | storytelling game | Collaborative | Analog | played in CMPM 110 | blythe | Yes | No | No | No | No | |||||||||||||||||
23 | A Hundered Thousand Billion Poems | writing 10 14-line sonnets in such a way that a line from one sonnet can be placed interchangably with a coresponding line in any of the other 10 poems | Raymond Queneau | 1961 | Oulipian preauthored writing | Solo | Analog | Punya | | | | No | No | |||||||||||||||||||
24 | Magnetic Poetry | Using themed kits of word magnets to come up up with a poem | https://magneticpoetry.com/pages/play-online | 1993 | Solo | Analog | Contains both free and bound morphemes ("dog" and "s") seems to be a trademarked brand | Punya | | | | No | No | |||||||||||||||||||
25 | Ella Minnow Pea | Lipogram, each chapter progressively loses a letter, that letter cannot be used in writing anymore | Mark Dunn | 2001 | Lipogram/Gadsby | Solo | Analog | Epistolary, written as letters | Punya | | | | No | No | ||||||||||||||||||
26 | Beautiful Outlaw (belle absente) | Lipogrammatic, but each line omits a different letter that corresponds to the letter in that place of the name [of the person poem is adressed to] | 1900s | Lipogram | Solo | Analog | Punya | | | | No | No | ||||||||||||||||||||
27 | Acrostic | First letter of each line spells out a phrase or name (counter to belle absente) | 1900s | Constraint? | Solo | Analog | Punya | | | | No | No | ||||||||||||||||||||
28 | Mesostic | acrostic but the words are shifted to make a column, rather than first letter of each | John Cage | https://en.wikipedia.org/wiki/Mesostic | 1990s | Constraint? | Solo | Analog | acrostic via shifting words around to get a column. but there's an extra rule "In a one-hundred-percent mesostic, "Between any two [capitalized] letters, you can't have either [letter]." | Oliver | No | Yes | Yes | No | No | No | No | No | No | No | No | Analog | No | No | No | |||||||
29 | Nanogenmo | Darius Kazemi | https://nanogenmo.github.io/ | started in 2013, annual/ongoing | | Yes | | No | No | |||||||||||||||||||||||
30 | The Universal Character | shows what things mean on the basis of how you write them, has a set of codes that reveal what each word means | Cave Beck | https://archive.org/details/bim_early-english-books-1641-1700_the-universal-character-_beck-cave_1657/mode/2up , https://andydrummond.net/cavebeck.html | 1657 | constructed language | N/A | Analog | not a game; part of movement to apply logic to language creation; precursor to creation of scientific notation and hierarchy | blythe | No | Yes | Yes | No | No | |||||||||||||||||
31 | Consequences | each person is given a theme (person, place, etc.) and writes a line down in that category; paper is passed off to next person with previous lines hidden | N/A | https://en.wikipedia.org/wiki/Consequences_(game) | presumably around the Victorian Era? | parlour game | Collaborative | Analog | possible precursor to MadLibs; also see Exquisite Corpse | blythe | Yes | No | Yes | Yes | No | |||||||||||||||||
32 | Life: A User's Manual | order of the book (by apartment block) follows the Knight's Tour (as in chess), partially generated using 42 lists of categories with 10 elements each and bi-squares | Georges Perec | https://en.wikipedia.org/wiki/Life:_A_User%27s_Manual | 1978 | Oulipian writing | Solo | Analog | this entry as a whole is not a game but the generation process when writing the book is game-like (resembles sudoku). this is one of a couple of writings that follow the Knight's Tour mathematical problem: https://en.wikipedia.org/wiki/Knight%27s_tour | blythe | No | No | No | Yes | No | |||||||||||||||||
33 | Kavyalankara | "a specified verse of the pair is written serially (left to right and top to bottom) one syllable a cell to fill up 8 × 4 cells– half of a chess board– the other verse follows the path of the Knight’s Tour" (GSS Murthy) | Rudrata | https://www.ias.ac.in/article/fulltext/reso/025/08/1095-1116 , https://en.wikipedia.org/wiki/Rudrata | 9th century AD | poetic treatise | Solo | Analog | first written reference containing the Knight's Tour; interesting in the sense that it's a constraint originating from a game's mechanics (chess) but not actually part of the game (while it's based off the movement of the knight chess piece, completing a Knight's Tour isn't one of the goals of chess). maybe this should just be included in a broader entry for the Knight's Tour | blythe | No | No | No | Yes | No | |||||||||||||||||
34 | Larding | pick two sentences. Add a new sentence between the first two; then two sentences in the new intervals that have become available; and continue to add sentences | Warren Motte | Oulipo comendium page 169 of pdf page 167 of scan | Oulipian writing | Collaborative | Analog | recusively add sentences to the middle of something | oliver | No | Yes | Yes | No | No | No | No | Yes | No | Yes | No | Analog | No | No | No | ||||||||
35 | Invisible Seattle | Walk around Seattle asking people "we are building anovel can we borrom a few of your words?" and then right them down?? | Invisible Seattle the group co founder is Philip Wholstetter | Oulipo compendium page 165 of pdf 163 of scan | 1979 | Oulipian writing | Collaborative | Analog | ARG where you are trying to revive "civic life" | oliver | No | No | Yes | Yes | No | No | Yes | No | No | No | No | Analog | No | No | No | |||||||
36 | Epithalamium | marriage song made of only the letters in the names of the people getting married | Oulipo compendium page 148 of pdf 146 of scan | Oulipian writing | Solo | Analog | oliver | No | Yes | Yes | No | No | No | Analog | No | No | No | |||||||||||||||
37 | Eodermdrome | put 5 letters on a pentagram so that you get a 'meaningful sequence of 11 letters' each edge only used once and end where you started (hamiltonian) | claude berge / oulipo | Oulipo compendium page 146 of pdf 144 of scan | Oulipian writing | Solo | Analog | could be turned into a game. it reminds me of the 'letter box' game on the new york times puzzles site which is like this but with a square and other changes | oliver | No | Yes | Yes | No | No | No | No | No | No | No | No | Analog | No | No | No | ||||||||
38 | Definitional literature | Meaningful words in text are replaced by their dictionary definitions | stefan thermerson | Oulipo compendium page 136 of pdf and 134 of scan | Oulipian writing | Solo | Analog | reminds me of when people on social media reply with a link to a wikipedia article instead of actually responding | oliver | No | Yes | Yes | Yes | No | No | No | No | No | No | No | Analog | No | No | No | ||||||||
39 | Alone Among the Stars | 52 card deck-based prompts | Takuma Okada | Alone Among the Stars by noroadhome | 2018 | RPG/journaling | Solo | Analog | raven | Yes | | Yes | No | Yes | No | Yes | No | No | No | No | Analog | No | No | No | ||||||||
40 | Together Among the Stars | " | " | Together Among the Stars by noroadhome | 2019 | RPG/journaling | Collaborative | Analog | two-player version of Alone Among the Stars | raven | Yes | | Yes | No | Yes | No | Yes | Yes | No | No | No | Analog | No | No | No | |||||||
41 | Elegy for a Dead World | in-game prompts | Dejobaan Games | RIP --> https://steamcommunity.com/app/252290/discussions/0/3192490241174473320/ | 2014 | prompt-based journaling | Collaborative | Digital | game taken off steam after its online journal sharing was broken :( here's another, fanmade, discussion post about this: https://steamcommunity.com/app/252290/discussions/0/4142816719796691404/ | raven | Yes | No | Yes | No | Yes | No | No | No | Yes | Yes | No | | Yes | | | |||||||
42 | Plant-a-Story | choice text written by previous player/writer | Maxime W. | Plant a story | Collaborative | Digital | start by titling and writing the first passage, then write choices for how to continue, you can then send a link to whoever you're playing with, and they pick a choice to continue with, write their passage and choices, and so on. | raven | Yes | | Yes | No | No | No | No | Yes | No | No | No | Digital | No | No | Yes | |||||||||
43 | Village Witch | 52 card deck and tarot deck prompts | Eliot Crow | Village Witch by Eliot Crow | 2021 | solo journaling | Solo | Analog | raven | Yes | | Yes | No | Yes | Yes | | No | No | No | No | Analog | No | No | No | ||||||||
44 | Kind Words | Popcannibal | https://store.steampowered.com/app/1070710/Kind_Words_lo_fi_chill_beats_to_write_to/ | 2019 | letter writing | Collaborative | Digital | focus is more on mental health and encouraging strangers than on creative writing, and the only "constraint" is to be kind. you can favorite the messages that float past randomly, and you can download your own writings Raven says: "focus is not on creative writing" We are debating if it is a game. The "system" involves creating requests and then getting text written back. Pen pal. Definitely a system. Arguably a game. | raven | Yes | No | Yes | No | Yes | No | Yes | Yes | Yes | Yes | Yes | Analog | Yes | | No | ||||||||
45 | Microscope | players collaboratively set constraints of their world, cannot contradict previous rules set, players "zoom" in and out of events in their world | Ben Robbins | https://www.lamemage.com/microscope/ | 2011 | world building game, tabletop rpg | Collaborative | Analog | work with 2-4 players to create a world and explore its history | blythe | Yes | No | Yes | No | No | No | No | Digital | No | No | ||||||||||||
46 | Dialect | community Backdrop and Aspects chosen from a list, character Archetype from card deck. community faces challenges (drawn from cards) that results in the creation of a new word (prefixes and suffixes chosen from a list) | Hakan Seyalioglu, Kathryn Hymes | https://thornygames.com/pages/dialect, https://en.wikipedia.org/wiki/Dialect_(game) | 2016 | tabletop rpg | Collaborative | Analog | explores the birth, growth, and death of a language that players create | blythe | Yes | No | Yes | No | TBD | No | ||||||||||||||||
47 | Wretched and Alone | Sealed Library, Chris Bissette | https://sealedlibrary.itch.io/wretched-alone-srd, https://loottheroom.itch.io/wretched | solo journaling game | SRD based off of the game The Wretched | blythe | TBD | No | ||||||||||||||||||||||||
48 | De Profundis | players send each other letters written in the style of H.P Lovecraft | Michael Oracz | https://en.wikipedia.org/wiki/De_Profundis_(role-playing_game) | 2001 | epistolary game | Collaborative | Analog | "the game has almost no role-playing mechanics" | blythe | Yes | No | Yes | No | TBD | Yes | No | No | ||||||||||||||
49 | Monster | players can create new objects and rooms and interact with other player-created things | https://mud.fandom.com/wiki/Monster_(game) | 1980s | multi-user dungeon game | Collaborative | Digital | first MUD to feature online creation | blythe | Yes | No | Yes | No | TBD | No | No | ||||||||||||||||
50 | Lexicon | players act as scolars recounting a fictional history, writing in the style of encyclopedia entries. turns follow alphabetical order | Neel Krishnaswami | https://en.wikipedia.org/wiki/Lexicon_(game) https://rpggeek.com/rpgitem/173810/lexicon | 2003 | world building game | Collaborative | Digital, Analog | Lexicon is a computer-assisted role-playing game invented by Neel Krishnaswami and popularised by the indie role-playing game community. As originally proposed, it is played online using wiki software. | raven | No | No | Yes | No | No | |||||||||||||||||
51 | Snowballing | next word is one letter longer than the previous | Typographical Orthography — Snowball: Poetry of the Oulipo https://ouliposting.wordpress.com/2014/04/11/oulipost-10-snowball-poem/ | oulipo | Optionally Collaborative | Analog | raven | No | Yes | Yes | No | | No | |||||||||||||||||||
52 | Verbositi | draw card for letters and topic. create sentence using drawn letters in order they appear, relating to given topic | https://boardgamegeek.com/boardgame/12919/verbositi | 1987 | card game | Collaborative | Analog | game is intended to be humorous, but I think it can be played however you want (maybe depending on topic cards) | raven | Yes | No | Yes | No | Yes | No | Yes | No | No | No | No | Analog | No | No | No | ||||||||
53 | Tether | prompt cards, journal entries | Adam Baffoni | https://adambaffoni.itch.io/tether | 2021 | RPG journaling game | Collaborative | Analog | players take on the roles of two characters living in the same town at different periods of time (but are able to communicate through The Tether, which is the shared journal they're playing in). entries are prompted by cards. the players/characters "work together to discover the secrets of an ancient being that haunts the town" | raven | Yes | No | Yes | No | Yes | No | Yes | Yes | No | No | No | Analog | No | No | No | |||||||
54 | Mad Libs | Collaborative | Yes | No | Yes | No | Yes | No | Yes | Yes | No | No | No | Analog | No | Yes | No | |||||||||||||||
55 | Generominos | pipeline of cards make a creative prompt | Kate Compton | http://www.galaxykate.com/generominos/ | 2017 | card game? | Optionally Collaborative | Analog | players take cards and link compatible ones to "transform one type of data into another" example: intensity of stock market graph -> intensity of fire | Oliver | No | Yes | No | No | No | Yes | Yes | No | No | No | No | Analog | No | Yes | Yes | |||||||
56 | Creative Story Cards | Each person gets some randomly chosen words. The first person says the first sentence and they must use their first word in it. Next person adds a sentence w/ their word in it, and so on | https://www.indigoextra.com/blog/creative-writing-exercises#creative-story-cards--dice | 2020? (per internet archive first archive) | card game | Collaborative | Analog | version of story cube dice with a more clear actual game to play collaboratively | Oliver | Yes | No | Yes | No | Yes | No | Yes | Yes | No | Yes | No | Analog | No | No | No | ||||||||
57 | Poetry Gyroscope | specific poem is altered by the list of words you enter, loosely madlib style replacements | https://www.languageisavirus.com/poetry-gyroscope/pound.php#.U1_SY6KfytM | 2023? | generator | Solo | Digital | the final result isn't one static poem the words continue to change to show a lot of different combinatorics. could probably be turned into a game-game instead of a generator | Oliver | No | Yes | Yes | TBD | No | No | Yes | No | No | Yes | No | Digital | No | Yes | No | ||||||||
58 | Poem Collage | create a poem from the lines of another poem | https://www.languageisavirus.com/poem-collage.php?ac=Generate | found poetry/cut up poetry | Solo | Digital | reminded me a bit of one hundred thousand billion poems | Raven | No | TBD | Yes | TBD | No | |||||||||||||||||||
59 | Poem Builder | randomly generated subject, poetic form, and word list | https://www.languageisavirus.com/poem-builder.php | card prompts | Solo | Digital | Raven | No | Yes | Yes | TBD | No | ||||||||||||||||||||
60 | Letter Link Poetry | find words out of a randomly generated grid of letters, then write a poem, using each word to start each line | https://www.languageisavirus.com/letterlink-poetry/ | word-search poetry | Solo | Digital | "Word search poetry" is taken from the web page. They have a similar game called Ring Game (same constraints, different letter grid format). | Raven | TBD | Yes | Yes | TBD | No | No | Yes | No | No | No | No | Digital | No | No | No | |||||||||
61 | Untold: Adventures Await | narrative storytelling structured by card draws and prompts by story cubes | Hub Games | https://www.amazon.com/Creativity-Hub-UTD01TCH-Untold-Adventures/dp/B076KRJDQG | 2017 | story cubes, board game | Collaborative | Analog | Using story cubes as a game 'engine' Game board has five spaces for randomly-dealt tiles. These determine the scenes for your story. Each player creates their own character using a character sheet. Uses Rory's Story Cubes but adds a lot of structure and gamelike elements. Players spend tokens to interject ideas, ask questions, or take actions. Review/gameplay explanation. Another, more in-depth. | Raven | Yes | No | No | TBD | TBD | Yes | Yes | No | No | No | No | Analog | No | No | No | |||||||
62 | Vers: The Rap Game | category cards (topics) and base cards (three rhyming words) | https://spatchgames.com/ | 2018 | poetry game | Collaborative | Analog | Collaborative/Competative game Player draws a category card and a base card. Their rap has to pertain to the category and use the words in the base card at the end of each line. Round winners are chosen by a rotating judge. | Raven | Yes | No | No | TBD | Yes | No | Yes | No | No | No | No | Analog | No | No | No | ||||||||
63 | Cyrano | theme card, two rhyme cards | Angèle and Ludovic Maublanc | https://boardgamegeek.com/boardgame/65272/cyrano | 2010 | board game | Collaborative | Analog | Player draws three cards (topic + 2 rhyme cards). For each unique word in your poem, Cyrano will climb one step on the board's ladder. Players then vote on the best poem. The winner makes Roxanne go down one step on the ladder. Win the game by getting Cyrano and Roxanne on the same level first. (i got the gameplay breakdown here) | Raven | Yes | No | Yes | TBD | Yes | No | Yes | No | No | No | No | Analog | TBD | TBD | No | |||||||
64 | Dead Poets Rise | "creation" and "chaos" cards with prompts/constraints | David Schwittek, Anna Purves | https://www.dpr.games/the-game https://www.dpr.games/product/dead-poets-rise-full-game | 2023 | board game | Collaborative | Analog | Here's a project reflection written by one of the devs: https://schwittek.com/special-projects/dead-poets-rise Here's a review with an example poem at the end: https://www.bigbangpoetry.com/2024/01/board-game-for-poets/ | Raven | Yes | No | Yes | TBD | Yes | No | Yes | No | No | No | No | Analog | No | No | No | |||||||
65 | Sindome | writing has to be "in character," GMs have overall control | N/A (couldn't find) | https://www.sindome.org/features/ | 1997 | MUD (MOO), RPG | Optionally Collaborative | Digital | cyberpunk-themed setting, writing: character history, character appearance, character dialogue (most of the in-game chat is supposed to be in-character roleplay), character actions. send/receive writing in the sense that a lot of the writing takes the form of roleplaying through the chat system | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||
66 | BatMUD | quests are defined by actions (set of tasks that make up the quest), only experienced players are given the ability to create quests | Jaf, Balanced Alternative Techniques (Finland nonprofit) | https://www.bat.org/help/help? | 1990 | MUD | Optionally Collaborative | Digital | medieval fantasy setting, writing: player quest creation. not particularly focused on roleplaying (unlike Sindome), player description | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||
67 | LambdaMOO | rooms: entrances and connections can be defined, objects: can be given a description (what players "see"), put into containers | Pavel Curtis | https://en.wikipedia.org/wiki/LambdaMOO, https://writing.upenn.edu/~afilreis/88/moo-glossary.html | 1991 | MUD (MOO) | Optionally Collaborative | Digital | oldest MOO game (variant of MUD that is object-oriented), social-themed, writing: player description, room and object creation. NOTE: MOOs (MUD, Object Oriented) and MUSHs (Muti-User Shared Hallucination) are both MUDs, MOOs have a higher focus on player-created content and MUSHs tend to focus more on roleplay and narrative | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||
68 | Achaea | player description: no description of clothing, race, gender (displayed separately), "do not tell people what to feel when they look at you," focus on in-character interactions (penalized for being too out-of-character) | Iron Realms Entertainment | https://www.achaea.com/game-help?what=credibility-and-roleplaying-points | 1997 | MUD | Optionally Collaborative | Digital | one of the first ever games with microtransactions (☹️), writing: players run the game's cities thus deciding politics and history, player description, players roleplay using the chat system (there's a "credibility points" system that determines the privileges you get in the game) | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||
69 | Lusternia | player description must fit world and player traits/archetypes | Iron Realms Entertainment | https://www.lusternia.com/welcome/ | 2005 | MUD | Optionally Collaborative | Digital | has monthly "Bardic contest" where you submit writing, game has new storylines every year that impact game events and how players interact with the world, players run game's cities and factions thus deciding politics and history, player description | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||
70 | Shattered Kingdoms | priority system for roleplay (what traits to prioritize): alignment > religion > faction > friendships | Dulrik | https://shatteredkingdoms.org/ | 1996 | MUD | Optionally Collaborative | Digital | player actions contribute to overall ongoing game history, players can affect the world's politics and landscape over time, has emphasis on roleplay | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||
71 | Discworld MUD | Architect writing should be informed by knowledge of the Discworld series | David "Pinkfish" Bennett, Craig "Furball" Richmond, Sean A. "Lynscar" Reith and Evan Scott, Terry Prachett (not directly involved) | https://discworld.starturtle.net/lpc/ | 1992 | MUD | Optionally Collaborative | Digital | based on Discworld series by Terry Prachett; player councils; players can apply become "Architects" that write descriptions for things in the game (locations, NPCs, items) without becoming a full-on Creator (part of the development team) | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||
72 | PernworldMUSH | http://pernworld.wikidot.com/ | 1991 | MUD (MUSH) | Optionally Collaborative | Digital | based on Anne McCaffrey’s Dragonriders of Pern series, one of several in a trend of book-related MUSHs | blythe | Yes | No | Yes | No | TBD | Yes | Yes | Yes | No | No | Digital | No | Yes | Yes | ||||||||||
73 | flyting | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | “flyting,” which was practiced in a number of European cultures, often in contests in which poets would trade insults and invective before an audience. | ||||||||||||||||||||||||||||
74 | renga | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | the tradition of linked verse, or renga, in Japan, | ||||||||||||||||||||||||||||
75 | puys | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | playful poetic practices abounded during the medieval period—whether in Chaucer writing an abecedarian, in Dante basing the Commedia on intricate numerological structures, or in the form of late medieval puys, or poetic competitions, in which a group of poets would take a poetic line and each would compete to write a better chanson, say, or ballade, using that line as either a starting point or a refrain | ||||||||||||||||||||||||||||
76 | rime retrograde | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | “Rhétoriqueurs, a group of leading poets and intellectuals in Renaissance France, devoted themselves to composing anagram poems, abecedarians, and riddling puzzle forms like the “rime retrograde,” which calls for one to read lines forward and then backward, in order for the piece’s meanings to become evident.” ([Eburne and Epstein, 2014, p. 6](zotero://select/library/items/GZUNYI4M)) ([pdf](zotero://open-pdf/library/items/GJ8X2VX8?page=7&annotation=NX34ILAD)) | ||||||||||||||||||||||||||||
77 | rhopalic | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | Pattern poetry and word games were all the rage in the Renaissance, leading to the emergence of forms like the rhopalic, where each word or line is longer than the previous one by a letter or syllable, as in Richard Crashaw’s | ||||||||||||||||||||||||||||
78 | The obsessively detailed objects and machines of Raymond Roussel’s writings | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | “The obsessively detailed objects and machines of Raymond Roussel’s writings, which he later revealed to be the textual product of pure wordplay in Comment j’ai écrit certains de mes livres (How I Wrote Certain of My Books), were inspirational to artists such as Marcel Duchamp,” (Eburne and Epstein, 2014, p. 7) | ||||||||||||||||||||||||||||
79 | Cut-up technique/cut-up poetry | cut a paper of text into pieces and choose at random to assemble a poem | Tristan Tzara | Cut-up poems - National Saturday Club | 1920 | Historical | Solo | Analog | DADAist | raven | No | Yes | Yes | No | No | |||||||||||||||||
80 | Games of surrealist group of Bucharest | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | “Gherasim Luca, Dolfi Trost, and Gellu Naum, invented literally dozens of aleatory compositional methods and games.” (Eburne and Epstein, 2014, p. 7) | ||||||||||||||||||||||||||||
81 | Ulysses | Joyce | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | “Ulysses and Finnegans Wake are driven by intricate forms of linguistic play, punning, and multilingual wordplay.” (Eburne and Epstein, 2014, p. 7) | Yes | ||||||||||||||||||||||||||
82 | homophonic translation | TODO FIND MORE ABOUT THIS ONE | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | “Louis Zukofsky radically subverted conventional methods of translation by exploring “homophonic translation” in his controversial rendering of Catullus (see Horáček, this issue” (Eburne and Epstein, 2014, p. 7) | |||||||||||||||||||||||||||
83 | John Cage songwriting | John Cage | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | John Cage notoriously introduced chance methods to the composition of music and poetry, including the flipping of coins to determine the pitch and ordering of notes. | |||||||||||||||||||||||||||
84 | Jackson Mac Low | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Historical | “new American poetry” that emerged in the 1950s and 1960s was even more fully invested in the idea of poetry as play and game than were many of the strains of modernist compositional play that preceded it. Inspired in part by Cage, Jackson Mac Low employed chance operations (e.g., using dice or playing cards) to select words and phrases for his poems as a means of avoiding the limitations of conscious authorial intention | ||||||||||||||||||||||||||||
85 | My Life (1980) | Lyn Hejinian | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | One of the most famous examples is Lyn Hejinian’s My Life (1980), an experimental long poem that plays with the conventions of autobiography both in its content and its form: in its first edition, the poem consisted of thirty-seven prose sections, each featuring thirty-seven sentences to correspond with Hejinian’s age when she wrote the book. Seven years later she expanded the work so that it consisted of forty-five sections, each one now forty-five sentences long, to correspond once more with her age. | Yes | |||||||||||||||||||||||||||
86 | Tjanting (1981), | Ron Silliman | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Another well-known example can be found in the ambitious procedural poetics of Ron Silliman—to compose his long prose poem Tjanting (1981), Silliman used the Fibonacci sequence (in which each number is found by adding together the two numbers before it—0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, etc.) to dictate how many sentences would appear in each paragraph of the poem. | Yes | |||||||||||||||||||||||||||
87 | Renaissance rhopalic | TODO | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | with its ever-expanding form.14 Connect to Tjanting “The resulting poem, which begins with very short paragraphs that quickly balloon to extreme lengths, can be seen as a descendant of the Renaissance rhopalic, with its ever-expanding form.14” (Eburne and Epstein, 2014, p. 8) | ||||||||||||||||||||||||||||
88 | Conceptual Writing | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Digital | “conceptual writing” (spearheaded by the energetic poet Kenneth Goldsmith) and “Flarf ” (a movement that creates poems by collaging together found language gathered from the Web), both of which can be seen as contemporary extensions of methods inaugurated by the historical avant-garde, but from the other side of the digital revolution. | ||||||||||||||||||||||||||||
89 | Flarf | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Digital | Flarf ” (a movement that creates poems by collaging together found language gathered from the Web), both of which can be seen as contemporary extensions of methods inaugurated by the historical avant-garde, but from the other side of the digital revolution. | ||||||||||||||||||||||||||||
90 | Writing a Poem a Day for a Year | Writing a Poem a Day for a Year | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | “for example, writing a poem a day for a year (David Lehman), mashing up words from Bruce Springsteen’s “Born to Run” with words from the Patriot Act to create a poem (Timothy Donnelly),” ([Eburne and Epstein, 2014, p. 10](zotero://select/library/items/GZUNYI4M)) ([pdf](zotero://open-pdf/library/items/GJ8X2VX8?page=11&annotation=9LLPZVD9)) | ||||||||||||||||||||||||||||
91 | A variety of constraint experiments | TODO organize into Major works | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Well beyond the confines of these two movements, however, a wide range of writers have recently embarked on an array of experiments driven by constraints, procedures, and predetermined rules: for example, writing a poem a day for a year (David Lehman), mashing up words from Bruce Springsteen’s “Born to Run” with words from the Patriot Act to create a poem (Timothy Donnelly), making a series of poems from what’s left when one erases large portions of the works of Emily Dickinson ( Janet Holmes), writing a series of sixty-sentence works based on a set of sixty-minute walks in New York City, one sentence per minute (Andy Fitch), writing in a notebook for five minutes, every hour on the hour, for two days, and then publishing the transcript (Steve Benson), writing a long documentary prose poem that exhaustively lists the detritus found in Dumpsters and gutters along the Bowery in New York City (Brenda Coultas), hiring a private eye to follow you for a certain period of time, and then compiling the investigator’s notes about your daily activities into a “Conceptual Self-Portrait” (David Buuck), and so on. Even one of the most celebrated young novelists of our moment, Jonathan Safran Foer, recently published a “project” work of his own, in which he took a novel by Bruno Schulz and literally removed chunks of the text (carving into the page and leaving spaces where the omissions are), creating his own narrative by process of erasure. | ||||||||||||||||||||||||||||
92 | Erasure / | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | “Jonathan Safran Foer, recently published a “project” work of his own, in which he took a novel by Bruno Schulz and literally removed chunks of the text (carving into the page and leaving spaces where the omissions are), creating his own narrative by process of erasure.18” ([Eburne and Epstein, 2014, p. 10](zotero://select/library/items/GZUNYI4M)) ([pdf](zotero://open-pdf/library/items/GJ8X2VX8?page=11&annotation=YJGZQ2M6)) | |||||||||||||||||||||||||||||
93 | Google Search Composition Strategies | Shirinyan | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Digital | (cutting and pasting language directly from the Web’s vast archive) “The next article in the collection likewise approaches the poetic reuse of “readymade” language from the perspective of postcoloniality and transnationalism, in this case studying the effects of Google search–based composition strategies.” (Eburne and Epstein, 2014, p. 13) | |||||||||||||||||||||||||||
94 | Your Country is Great | Google Search Composition Strategies | Shirinyan | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | Digital | Rettberg instead demonstrates how Your Country is Great impels readers to recognize both the poet’s and our own complicity in the forces of globalization and neocolonialism. | Yes | |||||||||||||||||||||||||
95 | Shaped poems | poems written so their words/lines form a shape | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | |||||||||||||||||||||||||||||
96 | Automatic writing | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | "Automatic writing is a technique in which the writer surrenders control of their words and allows their thoughts and ideas to flow freely, without premeditation or editing" (https://www.languageisavirus.com/creative-writing-techniques/automatic-writing.php) | |||||||||||||||||||||||||||||
97 | Language poetry | "the use of elaborate procedural methods to generate poetry, as a means of avoiding conventional lyric subjectivity" | Introduction: Poetry Games Author(s): Jonathan P. Eburne and Andrew Epstein Source: Comparative Literature Studies, | "The avant-garde movement known as Language poetry, which emerged in the wake of the new American poetry in the 1970s, was likewise committed to the use of elaborate procedural methods to generate poetry, as a means of avoiding conventional lyric subjectivity—especially by designing predetermined systems that involve the counting of sentences, repetition of units, and gradual expansion to structure poems" Example: My Life by Lyn Hejinian (1980), Tjanting by Ron Stillman (1981) | ||||||||||||||||||||||||||||
98 | Consequences | Each player is given a sheet of paper, and all are told to write down a word or phrase to fit a description ("an animal"), ... Each player then folds the paper over to hide the most recent line, and hands it to the next person. | Unknown | https://en.m.wikipedia.org/wiki/Consequences_(game) | ?1940s? | parlor game | Collaborative | Analog | Precursor to madlibs, picture version is the same as exquisite corpse | Oliver | ||||||||||||||||||||||
99 | Epitaph | Write a eulogy for video game NPCs when you kill them | Anna Anthropy | https://w.itch.io/epitaph | 2020 | roleplaying game | Solo | Analog | Requires a digital component | Oliver | No | Yes | Yes | No | Yes | No | No | Yes | No (kind of implied though) | No | No | Analog | No | No | No | |||||||
100 | Letters That Will Never Arrive | Write a fictional letter hiding a secret meaning | Anna Anthropy | https://w.itch.io/letters-that-will-never-arrive | 2018 | roleplaying game | Solo | Analog | Epistolary | Oliver | No | Yes | Yes | No | Yes | No | No | Yes | No | No | Yes | Analog | No | No | No |