In Chapter 3 of Electronic Literature by Scott Rettberg, he discusses the history of hypertext fiction and the features of it. These features described by Rettberg were multilinearity, metafiction, reflexivity, and fragmentation. Such features are still used in modern electronic literature. When Rettberg was describing the features of hypertext, I immediately made parallels to examples we have discussed in class. Some of those we have discussed are metafiction due to their focus on narrative structure rather than normal literary subjects such as characters, plots, or themes. This is exemplified by Anna Anthropy’s Queers in Love at the End of the World. In this piece of electronic literature, because of the limited time to go through it, the main aspect of the piece is the narrative structure. The limited time causes the players to not be able to read what is on each screen, thus making the character names and plot irrelevant to the player and instead, making the player focus on the narrative structure. Fragmentation can be seen in Aaron Reed’s 18 Cadence. Though not formed by the author, the fragmentation is done by the player when they rearrange text in varying years to create their own story. These fragments form a completely unique story and cause the original one to be fragmented. Like metafiction, multilinearity can be seen in a large portion of the electronic literature pieces that we have discussed. For example, chatbots or AI bots allow for a story of many possibilities that depend on the user’s input. In addition to these examples, Judy Malloy’s Uncle Roger exemplifies the multilinearity found in the antecedents of hypertext. In this example, depending on the file chosen, the user has a multitude of narrative paths that they can follow. Thus, there is not a single storyline. If the user chooses file 1, A Party in Woodside, they can choose which subject to start with and then repeatedly make decisions on what subjects to explore, such as characters. These aspects that were present in the antecedents of hypertext are still found in modern electronic literature. As a closing question, besides the multilinearity feature, do other features found in electronic literature parallel video games and their stories?