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methods of interaction which provide hidden context about James' past and the challenges he is currently facing. Through these methods of interacting readers learn about James' experience in the military and about a woman named Jessie, who both James and Luke were close with. By exploring the digital elements readers will learn about the relationship between Luke and Jessie and how it impacted James, who had feelings for her the whole time. This dynamic and the aftereffects of it play a major role in the story and the mental struggles that readers see James struggle with.
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much of the story they have explored with the built-in system in the table of contents. In the table of contents there are a number of diamonds linked to each chapter which reflect how much of that chapter readers have explored. Readers don’t have to unlock all the diamonds to understand the story, but exploring more will bring new information into light.
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explains that the "reader's interaction with Pry is primarily about reaching into the protagonist's mind to access his thoughts and emotions. Physical gestures serve as metaphors as well as ways to traverse the text". As Janeen Naji writes, "the haptic gestures of tap, swipe and pinch are also imbued
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app in 2014. The creators decided to create the project on iOS software because its advanced software and haptics provided a far greater level of user interaction. The pair used many complex methods of interaction which were, at the time, exclusively available with Apple software, to create a layered
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begins by following a man named James who is wandering around his house gathering things as he prepares to leave for the military. After the prologue video readers jump to the future where James and Luke now work at a demolition company. While James is going about his life, readers are given various
325:
Navigation utilizes many different interaction methods which further the story. The methods used are pinching and pulling the screen to show different visuals and sounds, pulling apart text to reveal new hidden text, and scrolling through an endless screen of words and images. Readers can check how
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both because of its mainstream success and its innovative gestural mode of interaction, where readers for example "pry" open a character's eyes by pinching and dragging their fingers on the screen. The work has won several awards, is the subject of several scholarly publications and is taught at
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as he begins to lose his eyesight. Readers follow along with James as he struggles through life and, through various methods of interacting, are able the to explore his mind, the world around him, and fragments of his memories. Through exploring these methods of interaction, readers can uncover
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In KarpińSkansen’s work the pinch method was used to zoom into a static and monochrome grid of poems. While this usage of pinching requires the same method of interaction, it doesn’t provide the same story context that readers get from
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and documents her process as she determines the answer to her question. Although the work received many awards, there were also many who critiqued the work for depending too heavily on interactive elements to carry the story.
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273:(2000), “used rollovers to replace sentences and words within paragraphs; his text transformed as it was touched.” These interaction forms, which originated within various works, have been repurposed into the story of
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cinema studies scholar and director
Roderick Coover describes Gorman as "making a case for new media offering a more complex form of authoring". In an interview after winning the 2014
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states, "I was engaged and intrigued and led inexorably on, but more by curiosity and wonder at the transitions and forms than by suspense or need for resolution of the content."
217:"proclaims (..) that gestures will be an intimate and necessary aspect of the experience of reading, as reading changes for all of us". In an interview with Gorman for his book
184:, co-authored with Danny Cannizzaro and released by the studio Tender Claws in 2014, have been analysed by scholars and reviewed in both literary and mainstream media including
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and digital narrative due to its use of gestural interactions as story-bearing elements in a work of digital narrative, and its mainstream success. Writing for
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opened by stating that "Everyone interested in the contemporary state or future of literature as a hybrid tactile mediated experience should experience
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in 2014, and was listed as one of Apple's 25 best apps of 2015. The work also received second place for the Future of
Storytelling Award in 2014.
266:
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Ciccoricco, David; Large, David. "Caution, Simulation Ahead: Complexity and
Digital Narrativity". In Grishakova, Marina; Poulaki, Maria (eds.).
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was critiqued for prioritizing the exploration of digital elements, rather than the exploration of the actual story. A review from the
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also commented on the various methods of interaction utilized and how the work fits into the changing world of literature.
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The story follows James, an ex-soldier, who has returned home from the first Gulf War. Now back home, he struggles with
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is a story which starts out ambiguous but unravels itself as readers play along and explore using the digital elements.
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Many works and artists had already been using the various methods of storytelling and interactivity which were used in
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experience that pushed readers to explore and uncover plot points hidden under various methods of interaction.
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and Daniel
Cannizzaro, which follows an American ex-soldier named James after he returns home from the first
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although the reviewer also notes that the novelty of the interaction design eclipsed the narrative itself.
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197:
744:
Coover, Roderick (2020). "Interview: Pry as a
Cinematic Novel: A conversation with Samantha Gorman".
437:"Multimodality, Interactivity and Embodiment: Representation of Consciousness in Digital Narratives"
245:, written by Aya Natalia KarpińSkansen in 2008, uses the pinch interaction method which was used in
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660:"You Don't Want to Know What PTSD Is Like, but Pry, a Powerful iOS Game, Tries to Show You Anyway"
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967:, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp. 100–120,
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265:. Many of Cayley’s works used text-within-text and word replacements methods to morph texts.
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Henkel, Ayoe Quist (July 16, 2017), "Reading the
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Yolanda De
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gestures, audio, and video to convey James's struggles with issues such as
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with meaning". The work has been taught at at least five universities.
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can e-lit be analyzed similarly to how other literatures are analyzed?
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The gestural modes of narrative interaction Gorman launched in the
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The
Cambridge Companion to Twenty-First Century American Fiction,
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The
Cambridge Companion to Twenty-First Century American Fiction
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Corbitt, Alex; Wargo, Jon M.; O’Connor, Clare (April 3, 2022).
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and his worsening eyesight as he works as a demolition expert.
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Another story creator who used interaction methods similar to
835:"Past ELO Award Winners – Electronic Literature Organization"
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The
Digital Imaginary: Literature and Cinema of the Database
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The Digital Imaginary: Literature and Cinema of the Database
934:"Samantha Gorman and Danny Cannizzaro's Pry by John Cayley"
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using "new tool sets, but it is still a very human story".
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The Robert Coover Award for a Work of Electronic Literature
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is a 2014 interactive digital novella for iPad created by
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Narrative Complexity: Cognition, Embodiment, Evolution
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Explorations of Consciousness in Contemporary Fiction
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379:In her article, she explores the first chapter of
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1084:WSU Authentication | Washington State University
815:. Los Angeles Review of Books. December 29, 2014
341:'s award for best creative work in 2015 and the
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288:was released to the public in the form of an
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694:"Los Angeles Review of Books"
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539:Hyperrhiz: New Media Cultures
478:. Bloomsbury Publishing USA.
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147:. The novella combines text,
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932:John Cayley (July 6, 2015).
756:10.5040/9781501347597.ch-006
277:to create a new experience.
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698:Los Angeles Review of Books
443:. Brill. pp. 208–224.
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193:Wired
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