Etkileşimli bir dijital anlatı okuması yapılan bu makalede yöntem olarak şizoanaliz kullanılır. Şizoanaliz bir yorumlama, metne belirli bir açıdan yaklaşma, sınırlandırma, sınıflandırma, çözümleme, klasik bir okuma ya da okura yol gösterme yöntemi olarak değil, dijital düzenek üzerinde gerçekleştirilen bir etkileşimli dijital üstanlatı üretim deneyimi ile tüm sınırlayıcı katmanlar arasında bir kaçış hattı üretebilme çabası olarak belirir; şizofrenik bir arzu üretimi olarak. Çalışmada önce etkileşimli dijital anlatının özellikleri ile şizoanalizin ne olduğu açıklanır daha sonra ise söz konusu yöntem İçboşluk isimli etkileşimli dijital anlatı üzerinde uygulanır. Çalışmanın inceleme bölümünde öncelikle dijital yazının klasik yazınsallığa ait, yazar, okur, metin, taşıyıcı düzenek ve bunun gibi unsurları nasıl dönüştürdüğü açıklanarak yeni radikal bir dijital yazınsallığın nasıl üretildiği gösterilmeye çalışılır. Dijital yazın çalışmaları kapsamında üretilen etkileşimli dijital yazın ürünlerinin bu bağlamda klasik anlatısal unsurları somut deneysel ürünler üzerinde nasıl sorguladıkları kısaca açıklanmaya çalışılır. Böylece hem yeni dijital yazım olanaklarının geliştirilmesi ve hem de klasik yazınsal alanın sınırlarının genişletilmesi sürecini başlatan dijital yazınsallığın ana hatları gösterilmeye çalışılır. Bu bağlamda bilgisayar teknolojileri kullanılarak elde edilen ürünlerin tüm sınırlama ve sınıflandırmaları aşma arzusu ile üretildiği anlaşılır. Bu ürünlerin değerlendirilmesi için dolayısıyla klasik çözümleme yöntemlerinden daha fazlasına ihtiyaç duyulduğu ortadadır. Çoklugösterge ve çoklumedya sistemleri barındıran söz konusu bu ürünler için elinizdeki çalışmada şizoanaliz yöntemi uygulanır. Bu yöntem çerçevesinde İçboşluk isimli etkileşimli dijital anlatı bağlantılar, heterojeni, çokluluk, gösterensizleştiren kırılım ve kartografi alt başlıklarında değerlendirilir. Böylece dijital alanın getirdiği birtakım yeni anlatısal unsurlar ile bezenen etkileşimli dijital anlatıların yeni biçeminin çözümlenmesi amaçlanır. Çalışmanın sonucunda etkileşimli bir dijital anlatı üzerinde her türlü bütünleştirici, sabit bir anlama bağlayıcı, kısıtlayıcı, indirgeyici, hiyerarşik bir yapı oluşturucu söylemlerin nasıl yıkılabildiği ortaya konulmaya çalışılır

In this article in which an interactive digital narrative is analyzed deeply, schizoanalysis is used as the method of analyzing. However, it is not used as a method of interpreting, limiting, classifying, reading a text or guiding the reader but as an effort to produce an escape line between all delimiting layers through the agency of an interactive digital narrative production experience that is realized on a digital narrative macrostructure. In other words, it is used as a schizophrenic desire production. In the study, firstly the characteristics of the interactive digital narrative and the schizoanalysis are explained and then schizoanalysis is applied to an interactive digital narrative, İçboşluk. In depth-analysis parts of the study, it is tried to show how the elements of literariness such as author, reader, text and supporting mechanism are transformed and how a new radical digital literariness is produced. In this context, it is tried to explain briefly how interactive digital literature products produced within the scope of digital literary studies are interrogated on concrete experimental works. Thus, the basics of digital literature starting both the development process of digital writing facilities and the broadening process of the boundaries of classical literature are tried to be outline. In the study, it is seen that this artwork produced by computer technologies is created to overcome all limitations and classifications of classical literariness. So, to analyze these digital artwork, a new analyzing methods different from classical ones is a necessity. Schizoanalysis is applied to an artwork having multimedia and many kinds of semiotics systems in this study. Using this method, an interactive digital narrative, İçboşluk is analyzed in five parts; connections, heterogeneity, multiplicity, asignifying rupture and cartography. So, it is aimed to show the new form of the new interactive narrative supported with the new elements from digital area. At the end of the study it is tried to reveal how any kind of fixing, binding, restrictive, reductive, hierarchy constructing discourses are deconstructed on an interactive digital narrative In this article, the name of which is “Reading of an Interactive Digital narrative: A Schizophrenic Desire Production on İçboşluk”, it is aimed to approach to a digital literary text from a new point of view. To achieve this, Gilles Deleuze and Feliz Guattari’s schizoanalysis is used as the method of literary analysis. However, it is not used as a technique of interpreting, limiting, classifying, reading a text or guiding the reader from a determined point, but as an effort to produce a line of flight between all delimiting layers through the agency of an interactive digital narrative production experience which is realized on a digital narrative macrostructure, İçboşluk. Analyzing it under five subtitles (connections, heterogeneity, multiplicity, asignifying rupture and cartography) which are characteristic of rhizome enumerated by Deleuze and Guattari (1980), it is realized that İçboşluk is a rhizomatic occurrence. In other words, it behaves and functions like a rhizomatic formation, organism or entity. Digital writing possibilities have achieved to advance the literary debate, starting with Aristo and Plato, to a new stage. The literary elements questioned on theoretical level all along the twentieth century can now be experienced on concrete artistic creations. The network of relationships between narrator and narratee, signifier and signified, plot and narrative and all other elements related to them are now broken off from their sound basis. All literary equilibria are left in a gravity-free space. Today, the network of communication built on universal digital infrastructure provides its users with the ability to manipulate the data that are generated at a different space and time. This new situation leads experiencers (readers) of interactive digital narrative to lose their time and space perception on the one hand and it changes the dimension of literary time and space notions on the other. The formulas described in many narratological approaches are now inadequate to analyze these new interactive digital narratives. The relationship between two distinct temporalities (story time and narrating time) is not enough to explain these experimental narratives. In this context, using schizoanalysis to analyze İçboşluk is a new approach to determine the place of this experimental literary creation among other classical artworks. This study reveals new information about boundaries, characteristics, functions of these type of digital literary creations that are still in experimental phase. In the study, firstly the features of interactive digital narrative and the schizoanalysis are introduced and then İçboşluk is analyzed using schizoanalysis, in other words rhizomatics. In depth-analysis parts of the study, it is tried to show how classical literary elements are transformed and a new radical digital literariness is produced. At the end of the study, it is seen that this artwork produced by computer technologies is created to overcome all limitations and classifications of classical literariness. It is revealed how any kind of fixing, binding, restrictive, reductive, hierarchy constructing discourses are deconstructed on an interactive digital narrative. Connections are the first characteristic of a rhizome. In a rhizome, these connections don’t necessitate any determined order. They coexist with the game of their inner dynamics and random encountering. One can enter a rhizome from one door and exit from the other. They don’t produce hierarchies and dual structures produced by arborescent structuring. In the same way, all the liens of İçboşluk are connected to others without any order. Among the utterance blocks of this digital narrative there is not any hierarchical or organizing relationship. Experiencer of İçboşluk can interconnect all the utterance randomly along the reading process.The second characteristics of a rhizome is heterogeneity. “There is no language in itself, nor are there any linguistics universe, only a throng of dialects, patois, slangs and specialized languages” (Deleuze ve Guattari, 1987:7). While using a language, there is a whole-body movement besides linguistic structures. All gestures, mimics, other movements of the body, oscillations and flows cannot be left out of language using process. Linguistic cannot dispose of these characteristics by means of binary structures produced by arborescent mentality. Language is not a homogeneous structure as thought. The language of Kafka, for example, is not the language of the German chancellors. The language of İçboşluk is not the language of general Turkish. Its utterances don’t have any predetermined meanings. Here, experiencer produce his own syntagm and his own language. Owing to this narrative macrostructure, he creates his own schizophrenic universe, his own chaosmos away from all social, political and ideological discourses. Multiplicity is another feature of rhizomatic occurrences. In a rhizome, “there is no unity to serve as a pivot in the object, or to divide in the subject […] There are no points or positions in a rhizome, such as those found in a structure, tree, or root. There are only lines” (Deleuze ve Guattari, 1987:8). There are only continuous lines of flight from one point to another. Likewise, on the İçboşluk, utterance blocks are hang on the darkness of the narrative without any pivot. There are no artificial measuring instruments putting them in front of each other, pushing them behind others, placing them on top of the others, determining one of them as the starting point or giving the last word to another. The fourth feature of a rhizome is asignifying rupture. Rhizomatic occurrences produce lines of flight tending to break the relationship between signifier and signified. Every rhizome creates some places of territorialization but these places are strictly susceptible to the lines of flight. “These lines always tie back to one another. That is why one can never posit a dualism or a dichotomy, even in the rudimentary form of the good and the bad” (Deleuze ve Guattari, 1987:9). In the experience of İçboşluk, there is always a machine where the source codes are placed and territorialized. However, on the part of those who have experienced the narrative, this territorialization has turned into a deterritorialization and a reterritorialization. In İçboşluk, author, designer, machine, program, internet, electrical currents, experiencer, utterance blocks and enunciation process are the elements in a constant state of flux of a rhizomatic mechanism. There is no bad which is articulated to good. No stratification, territorialization, organization, attribution or signification determined. Cartography is the last feature of a rhizome. A rhizome is not amenable to any structural or generative model. It doesn’t have a starting modal. It isn’t duplicable. It is a cartographic formation rather than a tracing. Rhizome is a map. “The map is open and connectable in all of its dimensions; it is detachable, reversible, susceptible to constant modification. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group, or social formation” (Deleuze ve Guattari, 1987:12). Likewise, İçboşluk is a kind of map. It is a rhizomatic occurrence. It is not a copy, nor a decalcomania. It is not the image the representation of author’s imagination. It doesn’t have any purpose to tell something to anyone from the very beginning. In the İçboşluk experience, syntagmatic structure is formed by the experiencer and the paradigmatic elements are given by the author. There is no any given structure, any modal, any sequence or any hierarchy as in the arborescent occurrences. Consequently, İçboşluk is to connect and to touch the thing which is absent at experiencing time. It is to pass over the temporality and spatiality. It is to relocate the far and the near. It is to reconstruct the past and the future along the eternal darkness of the moment. It is to get the balance of chaos, to be able to connect in every direction, to create its own micro-language, to be able to get rid of the domination of representation and to be able to be unwrapped as a cartographic occurrence.