Interactive Web Animation
by Karin Wehn
Table of Contents
1. Introduction
2. What is interactivity?
3. Creating interactive content for the World Wide
Web
4. Examples of interactive web animation
5. Summary
6. References
7. Links
1. Introduction
Interactivity is a buzz word with regard to new media. It is generally
considered to be a central characteristic or the added value of
new media. The term is often used to emphasize the difference between
old and new media. Interactivity is not unique to new media, as
also in the old media viewers are active in many ways, for instance
by zapping, selecting storylines in a soap opera or by writing a
letter to the editor. However, new media do facilitate the implementation
of interactivity in new environments. and they presuppose a much
more active user. At least, part of the responsibility of the author/producer/creator
is passed on to the user. Ideally, both author and user are equal.
New media are said to not only demassify and cater for smaller audiences,
but also to create a continuum between formerly discrete categories
of interpersonal and mass-mediated communication (Rice/William 1984:57)
However, it is important to realize that interactivity means different
things to different people in different contexts (McMillan 2002:163).
At best an umbrella term for a variety of different semantic fillings,
the imprecision of the concept is a major reason that some researchers
and artists reject it altogether (Manovich 2001:55).
In this paper I will start off disentangling some of the different
meanings, myths and connotations embedded in the term interactivity.
However, my main focus will be on different approaches of implementing
interactive features into animation and speculate upon how they
try to attract and involve the user in different ways.
2. What is interactivity?
In a general sense, "interactive" means 1. mutually or
reciprocally active or 2. relating to, or being a two-way electronic
communication system (as a telephone, cable television, or a computer)
that involves a user's orders or responses. (Merriam Webster). Interactivity
implies reciprocity and is often compared to the immediacy and balance
of a face-to-face conversation.
Reflecting upon how interactivity is used within the context of
new media Carrie Heeter has pointed out that interactivity is an
"over-used, underdefined concept", as basically everything
a human does, can be referred to as an interaction. Regarding new
media, humans can interact with instruments, data, environments,
simulations, visualizations and media clips. Furthermore, interactivity
occurs as a "synonym for navigation", "good web design",
"mouse events" or "more complex programming in Javascript
to provide logic for gaming or database calls to dynamically compose
content" (Heeter 2000:2).
Another important question is who interacts with whom. Three different
traditions can be distinguished: 1. User-to-user interaction, that
is users interacting with each other by means of a machine. 2. user-to-document
interaction and 3. human-to-system-interaction, where human beings
interact with a machine (McMillan 2002:164). Most examples that
will be discussed here come from the user-to-document-interaction,
however, as you will see, they often overlap.
Some approaches try to isolate and categorize a) interactive features
either as properties of the message and/or the medium that enable
multidirectional communication or functionally as user control and
participation. Other approaches conceptualize interactivity as a
phenomenon that lies in the eye of the beholder, in individuals
perceptions. A third group of approaches looks at interactivity
in terms of exchange. They focus on the relatedness of information
exchange among participants rather than in either features
or perceptions. Interactivity is measured with regard to the extent
to which the communicator and the audience respond to and are willing
to facilitate, each other’s communication needs. (McMillan
2002:164f.)
However, multidimensional perspectives that take into account different
aspects are more common, but they are not always easy to put into
operation. Carrie Heeter (1989) distinguishes between such different
factors such as complexity of user choice, efforts users must exert,
responsiveness to the user, monitoring information use, ease of
adding information, and facilitation of interpersonal communication.
Lutz Goertz measures interactivity along four different dimensions
such as the degree of selection choices; the degree of modificability,
that is the potential of the user to permanently change something;
the quantitative size of the selection and modification range, and
the degree of linearity or non-linearity, that is the user’s
influence on the temporal progression of the media object, the numbers
of alternatives to move through a media object (cf. Goertz 1995).
Each of these four dimensions represents a continuum.
To put it very simply, the level of interactivity depends on how
much freedom a creator allocates to his users.
3. Creating interactive content for the World
Wide Web
Producing interactive content for the World Wide Web is quite
a different story from producing interactive content for other new
media, for instance CD-Rom or DVD. Unlike other new media, it is
bandwidth, platform, and browser issues that make animation for
the Web "its own special hell" (McMillan/Hobson 1999).
The low bandwidth connections that the majority of users have, pay-per-minute
internet fees and the fact that users are notorious for being impatient
and not prepared to wait for a long time for a film to load, make
it the paramount issue for web animators to keep file size low by
using no more information than is absolutely necessary (Hamlin 1999:2).
This often means that artists have to „park” what they
know (Geirland/Sonesh-Kedar 1999:46). Whether the constraint to
minimization should be regarded as a drawback or actually supports
creativity, can only be decided for each case individually.
However, even with enhanced bandwidth (broadband, satellite) the
issue of simplicity will certainly not disappear as “new”
new media such as mobile phones with tiny screens are already conquering
the gaming and entertainment market (e.g. Nokia's N-Gage).
The Macromedia software Flash has often been referred to as a killer
application. It caused the breakthrough for interactive webanimation.
The small file-sizes of the vector-based software and the high penetration
of the Flash plug-in make it an ideal tool for distributing animation
even at modem speed. Each new version of the software and especially
the enhancement of Flash’s programming language Action Script
Flash allowed for easy but increasingly sophisticated implementation
of interactivity. A considerable share of web animation is also
done with Macromedia Director, but the Shockwave plug-in is not
as widespread as Flash due to its larger size (3,5 Mb).
Keeping in mind the absolute must for minimization will be necessary
to understand the specific aesthetics of interactive animation on
the World Wide Web and prevent drawing wrong conclusions regarding
its quality. Otherwise, the frequently consciously chosen reduced
stylistic devices in web animation could easily be dismissed as
inferior and immature, for instance, if compared to the realism
and spectacle-oriented aesthetics of recent computer games (e.g.
Enter the Matrix).
4. Examples of interactive web animation
Basically, any genre on the World Wide Web can be interactive, for example,
music videos, webtoons, ads, of course games and also very short animated forms
such as greeting cards or preloaders. I will focus on fictional animations,
that is animations that tell some sort of story. I will start off with simple
forms of interactivity and move on to more complex ones. Many of the examples
that I will show you have won awards.
The primary type of interaction with Flash animation is through buttons. Buttons
may be either explicit and visible, inviting the user to click by a marked appearance
(for instance, an arrow or a flashing object), or they may be implicit and invisible,
making the search for the button an additional pleasure and incentive.
The simplest and pretty much standardized way of interactivity in web animation
is a start button to get the animation running and a replay/play-back-button,
once the animation is finished. You will see lots of examples later.
A slightly more elaborate form of interactivity can be found in
little gimmicks where the user changes between two states. For instance,
in Franz the user decides by pressing the switch on the tape-recorder
whether Franz dances happily or cowers lazily down on the floor
not knowing what to do. This process can be repeated endlessly until
the user clicks on the 10 kg weight that hangs on the ceiling and
crashes on the tape-recorder. Often, the interactive areas that
have to be clicked correspond to real-life-objects that the user
is familiar with. Other simple forms are such where the user changes
not between states but between different stages of a continuum,
determined by either the duration of the click or where he drags
the mouse. For example in Stop Esso, the user can distort
George W. Bush’s face by dragging his nose with the mouse
to different parts of the image.
Preloaders are small animations that precede the desired animation
while the latter is being downloaded on the hard-disk. As soon as
the file has been loaded completely or a sufficient part of it,
a button appears which invites the user to start the requested movie.
Preloaders have the important function to distract the user from
the actual download process, because the user’s patience to
linger at a web-site where no action takes place, is little. Preloaders
are a unique genre to the web and they are often interactive.
Like other ultra-short forms such as teasers and trailers on TV,
these tiny animation bites are very creative: In order to avoid
a boring loading bar, some preloaders turn to simple, classic games
such as memory, puzzles or ego shooters. These are familiar enough
so that they need very few or no instructions. Concerning topic,
design, characters etc. they are often related to the forthcoming
content. For instance, the preloader to the medical series Clear!
is a variation of a memory game with characters and objects (needles,
toilet seats) that correspond to the hospital ambience from the
series. Unlike in the classic game, not pieces of cardboard need
to be turned but virtual sewer lids have to be opened. The preloader
of Gwynneth & Steve requires the user to kiss the fast
popping up Gwynneth per mouse-click – a different version
of a ego shooter. Skills that are required from the user are a quick
ability to respond, patience and memory.
Frequently, in webtoons the user is put in charge of the temporal progression
of the film: The film stops at several points in time and only goes on after
the user has clicked certain active areas. There are many variations: In interactive
comics the user may have to click in order see the next panels. Some movies
imitate the structure of a book.
 Joe Cartoon is a master of using
Flash very economically by re-using the same material over and over
again, with changing just a few, but significant details. He plays
expertly with viewer's expectations. In Live and Let Dive,
eight lemmings jump one by one from the top of a cliff into the
water. Three judges watch and evaluate each jump. After each jump,
the viewer has three options: to see the jump again, to hear the
judge’s opinion or to see the next dive. None of the lemmings
survives, as they all crash on rocks in the water or hit their head
on the rock spurs. The penultimate one, who happily reaches the
water, is shot by one of the judges, the last one is shot before
he hits the water. Visual details that are altered include the jump
and the judges opening their eyes. The user cannot influence the
order of the jumps and he has to watch all of them.
In the classic webtoon Frog in a Blender, also by Joe
Cartoon, which has been copied many, many times, the buttons are
disguised as power settings in a blender (Clarkson 2001:181). Compared
to the previous cartoon, the user has more power: He is in control
of time and can vary the intensity of an action. Until he chooses
another level, the animation loops. The user is free to play every
level as long as he wants in any possible order or to omit certain
levels entirely. The frog provokes and ridicules the user being
a coward at the early stages. The turning-point is at stage 5/6,
when he starts losing control about his his movements and when he
gets sick. Watching the frog getting worried and finally killing
him at stage 10 is a real treat.
In other webanimations the user can choose between different action
strains. For instance, in each episode of the God & Devil-show,
a talkshow hosted by cartoon-character versions of God and the devil,
who talk to celebrity guests such as Albert Einstein, Jennifer Lopez,
Pamela Anderson, Angela Jolie, the user has to decide near the end
of the episode, whether to send the character to heaven or to hell.
Depending on his choice, the ending changes. (At the end he is given
the option to watch the other ending as well).
In other animations the user has the option to watch additional
storylines. The cartoons by John K. who became known with the TV-series
Ren & Stimpy have been described as "Tex Avery
on drugs". Like Ren & Stimpy his early web series
Weekend Pussy Hunt (a spin-off of Ren & Stimpy)
and The George Liquor Show convey an uncomfortable touch
of reality by delving in filth and bodily wastes, disease and mutilation.
Both series are excellent examples for embedding additional subplots
in the main action thread.
 The first
episode of the Weekend Pussy Hunt shows a dog with the
telling name Dirty Dog performing all sorts of tricks for George
Liquor and Jimmy the idiot, not knowing that that Cigarette, a cat
is watching him. In the following episodes Cigarette kills herself
laughing and ridicules Dirty Dog. The turning point comes when Cigarette
is told by another cat that he has jeered at one of the most dreaded
underground bosses in town. Desperately, he tries to find shelter
from the mad dog.
Matching the sick-and-twisted atmosphere of the series, the subplots
in the pilot episode include making the dog shit by clicking on
his rear or making him vomit by clicking on his muzzle. Written
messages within the movie summon the user to go on when he has finished
amusing himself. If muzzle or behind are clicked several times consecutively,
these subplots vary. For instance, a second click on the muzzle
makes the dog eat his vomit. There are about fifteen (!) variations
of the dog’ s mess.
Apart from additional storylines there are other text messages
that instruct the user to watch out for hidden spots which guarantee
him a prize at the end of the episode. The user quickly learns that
the prizes tend to be hidden in the rear parts or in the genital
areas of the protagonists. As the series progresses, looking for
the hot spot in each episode becomes an increasingly paranoid experience
for the user, as he has only a few seconds or one trial to find
it. (I am still wondering whether there is an prize at all in episode
3). Also, there are blanks, which trigger off little animations,
but not the prize. Typical comments are "sorry you missed it",
"next try", "next time ask Mummy to help". Instead
of the prize, the movie ends with derisive and lecturing comments
such as "Maybe you’d better try looking a little harder"
or "Is your mouse broken?". Here the interactive elements
have the function to drive the user crazy – which very much
corresponds to the increasing paranoia of the cat.
 Collaboration
from the viewer is essential if he wants to watch Plok,
a series of webtoons and greeting cards by the French artist David
Berlioz. Each episode consists of a sequence of successive gags
centered around the somewhat dull character Plok in a certain environment
or situation - Plok as cook, Plok playing the guitar, Plok at the
beach, skiing or visiting a farm). Basically, each episode contains
alternating linear sequences that play without the user having a
chance to interfere and interactive parts where certain actions
are expected from the user. The movie stops every few seconds and
Plok moves about foolishly, grunting and groaning. The next sequence
only plays after the user has searched for and clicked certain invisible
buttons in the correct sequence. Whenever he has hit a right spot,
an transparent ovate form appears on top of the active area and
signals where to click next. In some cases moving over an object
illustrates its function, for instance, the door opens, that Plok
needs to go through. Sometimes the user needs to pick up items and
give them to Plok or change the position of either Plok or an object.
For instance, in the farm episode, after the user has picked up
all three eggs in the hen house and handed them over to Plok, Plok
starts juggling with them until they fall to the ground and break.
Altogether the user has to click about twenty times in each episode.
He is awarded by the little gags that follow him or her finding
the correct spots.
Even more responsibility is transferred to the user with music-makers
or movie-makers. With this web-specific genre, the user is given
the task to put together his own film from prefabricated material
(backgrounds, protagonists, soundtrack, positive ending or negative
ending). Often he has the possibility to add dialogue or greetings.
A recording function saves the movie. Once the movie is finished
it can be previewed and emailed to friends. A whole new genre of
movie makers has evolved. They either place the user in the role
of a DJ (Looplabs), they allow him to stage and direct
his own South Park cartoon (South Park Movie Maker),
a Science Fiction movie (Science-Fiction Generator) or his
own Kung-Fu action film (I know where Bruce Lee lives). Other
movie-makers are spoofs of political events. For instance, during
the last election campaign in the U.S users could have Al Gore and
George W. Bush dance to Hiphop sounds (Capitol Hill) or make
up their own Bush speech. These concepts were adapted to German
conditions in Bundesdance where politicians dance in front
of the Deutsche Reichstag<#s building or at the Berlin wall including
a socially disadvantaged group such as farmers, East-Germans etc.
In Kanzler Dir einen, where users could make their own Schröder
and Stoiber speech. Movie-makers also are adapted for festivals
and holidays (Easter, Halloween, Christmas). Movie-makers illustrate
best how web animation oscillates freely between computer games,
greeting cards and movies. The movie-maker Sendofix I would
like to discuss in more detail.
 After
a short intro in retro style accompanied by a suitable loud and
trashy soundtrack reminiscent of 1980s computer games, a new screen
shows the instructions of the game. In order to get started, the
user has to pick two characters, give them names (usually himself
and the receiver), provide them with a face (hairstyle, different
types of glasses, moustache) and dress them. All changes can be
seen instantly. Secondly, he has to choose a background (mountaints,
a sushi bar, a gym, a discotheque etc.) which has some simple looped
animation, for instance, such as a cook rolling sushi while a sushi
boat is passing by at the sushi bar or snow falling in the mountains.
After that, he selects a soundtrack, which is also looped. In the
next step, a balloon opens up next to the sender-character and an
arbitrary question can be typed it the blank field. The only restriction
is that it has to be a question that can be replied to with yes
or no, as the receiver-character can only answer with yes or no.
At his point, the type of interactivity changes, as the viewer no
longer selects from a given range of options, but now has to the
chance to freely formulate his question and to bring in his own
interests into the movie.
Then the sender again has to choose two actions, one for the case,
that the receiver replies with "yes" and another one for
"no". The six "yes-actions" include angels blessing
the receiver-character, the two characters hugging and travelling
up to heaven, a bunch of cheerleaders dancing and awarding the receiver-character
with a trophy all accompanied by a cheerful soundtrack. The six
"no"-actions are less jolly: The character is changed
into a frog, kidnapped by a giant monkey, receives a letter bomb
from a postman or is shot by aliens.
Finally, the creator can watch a preview of the finished movie,
click a button in order to be informed about the receiver's first
answer and then sent the movie.
For a number of reasons, Sendofix sticks out of the average
greetings cards and movie makers: Its pixilated aesthetics and trashy
sound makes it an effective tool both to "wrap" a serious
question within a joke or to send a harmless and funny greeting.
Sendofix is necessarily collaborative, as the cartoon with
two endings can only be completed by the receiver. Sendofix's
special feature is that it allows the sender to become a virtual
spy and to eavesdrop upon how the receicer reacts to the questions
without him or her knowing. The selection process and the following
stratifying of elements on top of each other partially imitates
the production process of cel animation.
The interactive adaption of the Croatian Fairytale Rutvica
and Jaglenec by the British artist Ellen McAuslan, based in
Copenhagen, contains very subtle interactivity. It is a story about
two orphans who are haunted by evil fairies. Their mother left them
a girdle and a cross before she died which protect them until they
are rescued by prince Relya.
 The
story is based on the book metaphor. Its basic functional unit are
two pages, just like the double pages of an open book. The pages
consist of written text and illustrative images and sometimes animations.
All elements within those two pages interact with each other. First
of all, there are navigational buttons: Clicking on the dragon turns
the pages back and forth. Other symbols switch off the voice-over-narration
or change the language. But it is within the story itself that the
interactive elements develop their multi-facetted potential.
The viewer can look at and listen to the story at his own pace.
Once the text of the two pages has been read, he turns the page
by clicking on the dragon and then the story continues. Within each
page, certain effects are hidden. Three stages can be differentiated
(image as it is, mouse-over, click) but not all of them are active
with each image. Mouse-over effects and clicking on images bring
about changes of weather, for instance, a thunderstorm or the sun
light becoming more intensive which heighten the atmosphere. Other
ones highlight character traits, for instance, little Jaglenec clapping
his hands happily, reveals his innocence and childishness and him
not being aware of the danger that he is in. Again, other animations
sum up the key events of the action that has just been read/listened
such as when Jaglenec is flushed out of the pit in which he was
caught by a torrent. Again others have a cataphoric function, expressing
warnings or indicating approaching hazards ("Don't go up the
mountain"). Some of them are very playful and almost meditative,
for instance when the fairies appear around the pit one by one depending
on the area of the pit the viewer moves over.
Page by page the viewer learns to look out for hidden buttons which
make this story really remarkable. In some cases there are more
up to three changes in each image. Text and images are strongly
interwoven. There are images within images, or images and animations
pop up underneath text, for instance the fire-spitting dragon who
kidnaps Rudvica flies across the page. The images start interacting
with each other, for instance, when the image on the bottom of the
right page causes a change in the top one on the left page. For
instance, after Jaglenec has eaten the poisonous black berries his
head is spinning. After eating the red, also poisonous berries,
the evil fairy gives him, his head changes back to normal.
 Real-time
and multi-player elements are integrated in the episodic online-adventure
Banja, produced by the French
company CHman. The aim of the
game is to discover the harmonic and peaceful life-style of the
island Itland and its mysteries. In each episode a problem threatens
Itland and the users are requested to help solving that problem.
Banja is episode-based, because there is a new episode whenever
the previous one has been solved with new scenes and new games within
the game. Banja contains real-time elements as Banja's
world is permanently changed for all users by certain actions of
some users. It has multiplayer-elements in it as some quests are
so complicated that they need to be accomplished by the joint efforts
of users in order to push the game's action, for instance, when
the train had to be repaired after a power-cut on Itland. Teamwork
was also needed in order to exert the more than 1000 individual
actions that were necessary for repairing the wind generator. It
is the highest distinction for a user to become a Banja star, for
instance, by opening new areas for all other players.
Banja exists in different languages, however, the game works
with its visual symbolism. For playing Banja, the user has
to register in the book of Kap by choosing a log-in and a password
(a plant, a number and a coloured flower pot). The book of Kap contains
also the history of Itland, that is the past episodes. A friendly
bee instructs the newbie to the rules of the play.
All users discover Itland by huddling in the role of Banja, the
rasta. Through Banja they can navigate through Itland at their own
pace and are in control of space. To put it differently, they all
experience the virtual world from the same perspective. Each episode
starts the same way. Banja awakes in his flat, yawns. From the on,
the user can decide where Banja shall move.
The island of Itland is relatively static. However, an impression
of movement is created by small looped items within the image (for
instance, the pin wheels, butterflies) and by arbitrary and surprising
elements such as oversized insects flying through the image. Since
other users open up new areas Itland changes all the time. Also,
its trees and plants grow. These carefully chosen objects (e.g.
a tree trunk that looks like a cow fur, the tree decorated with
udders) and sound-effects (birds chirrup, insects hum, the seas
rushes) also contribute to the friendly and warm mood and atmospheric
density in the Banja world.
The user moves through Itland via ways and stairways, which can
lead out of the picture (then a new page is loaded). The more often
a user has visited Itland, the more he gets an impression on which
objects are background and where action may take place and about
Itland altogether.
In order to get in touch with other users, a user can send emails
and give them to the paper-boy or enter the Gulf's connection, which
is the chat-room of Banja. There the user can choose his
own avatar and go into existing chat-rooms or open up a new one.
The chatrooms contain furniture, for instance, cushions and a bar.
While chatting, the avatar can move freely through the chat-room.
All comments and questions can be accompanied by a repertoire of
emotions, for instance, a question-mark, laughing, raging, performed
by the avatar.
The game contains several currencies, for instance, so-called "Yes
Papas" which are knowledge points. They determine the position
of a user and represent the knowledge of the island and its inhabitants.
They can be gained by curiosity and interest, by achieving a certain
action and progress in the game. "Honey Pots" are Itland's
official currency which can be gained by playing the games that
are inbedded in Banja. These include football or fishing.
Contrary to many online-games, Banja is not about destroying
and killing other characters but about friendship and colloboration.
5. Summary
Similar to the theoretical confusion of what interactivity is,
a large spectrum of so-called interactive forms can also be found
in web animation. Here interactivity refers to such different phenomena
as pushing the narrative forward, finding hidden information, making
one's own movie from prefabricated material or collaborating with
other users. Often, the interactive features support the idea and
atmosphere of the narrative.
With the multifacetted forms of interactivity in web animation
the borderlines between formerly clearly separated genres, for instance,
films, games, navigation and personalized communication forms, such
as greeting cards, blur.
6. References
Clarkson, Mark: Flash 5 Cartooning. New York: Hungry Mind 2001.
Geirland, John; Sonesh Kedar, Eva: Digital Babylon: How the Geeks,
the Suits, and the Ponytails Tried to Bring Hollywood to the Internet.
New York: Arcade 1999.
Goertz, Lutz: Wie interaktiv sind Medien? Auf dem Weg zu einer Definition
von Interaktivität. In: Rundfunk und Fernsehen 4, 1995, 477-493.
Hamlin, J. Scott: Effective Web Animation. Advanced Techniques for
the Web. Mass.: Addision-Wesley 1999.
Heeter, Carrie: Implications of Interactivity for Communication
research. In: Salvaggio, Jerry; Bryant Jennings: Media Use in the
Information Age: Emerging Patterns of Adoption and Consumer Use.
Lawrence Erlbaum 1989, 217-235.
Heeter, Carrie: Interactivity in the Context of Designed Experiences.
In: Journal of Interactive Advertizing, Vol.1., Fall 2000. http://www.jiad.org/vol1/no1/heeter/index.html
Manovich, Lev: The Language of New Media. Cambridge: Massachusetts,
MIT Press 2001.
McMillan, Sally: Exploring Models of Interactivity from Multiple
Research Traditions: Users, Documents and Systems. In: Lievrouw,
Leah A.; Sonia Livingstone (Eds.): Handbook of New Media. London:
Sage 2002.
http://hotwired.lycos.com/webmonkey/98/32/index0a.html?tw=multimedia
Rice, Ronald E.; Frederick Williams: Theories of Old and New: The
Study of New Media. In: Rice, Ronald E. (Ed.): The New Media. Communication,
Research and Technology. Beverly Hills, CA: Sage, 50-78.
7. Links
Banja. http://www.banja.com
Brother Rutvica & Sister Jaglenec. http://www.bulaja.com/fairytales/index3.html
(complete, enhanced version only on CD)
Bundesdance. http://www.nix-glop.de/actives/Bundesdance/intro_final.swf
Bush. http://www.stopesso.com/funstuff/nose.html
Capitol Hill. http://www.jibjab.com/default.asp?mode=link&link=cartoons/raps/rp_movie02.htm
Clear!. http://atomfilms.shockwave.com/af/content/clear01
Franz. http://www.goober.nu/flash/franz.htm
Frog Bender. http://www.joecartoon.com/pages/frogbender/
Gwynneth and Steve. http://www.countingdown.com/
(movie no longer online)
I know where Bruce Lee lives. http://www.skop.com/brucelee/index.htm
Live and let dive. http://www.joecartoon.com/pages/livenletdive/
Looplabs. http://www.looplabs.com/
Plok. http://www.dbtoons.com
Science-Fiction Generator. http://www.sciencefictiongenerator.de/
Sendofix. http://ish.metazoa.tv/sendofix/
Stop Esso. http://www.stopesso.com/funstuff/nose.html
The George-Liquor-Show. http://www.spumco.com
(site is offline)
The God & Devil Show. http://www.ugo.com/channels/mondo/index_tof.asp
Weekend Pussy Hunt. http://www.spumco.com
(site is offline)
This presentation was held on August, 25th 2003, at the Sagasnet
Workshop on "Developing Interactive Narrative Content"
in Leipzig during the Games
Convention.
Leipzig, 28th of August, 2003
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