ABSTRACT
Chapter 5 shows how, by the second decade of the new millennium, hypertextuality itself had become a metaphor for new, hybridic forms of transmedial interconnectivity. From J. K. Rowling’s Pottermore website to Richard House’s use of web-based video in his novel, The Kills (2013), digital storytelling had become increasingly postdigital in form and structure. In this condition of normalised hybridity, any artistic work that remains disengaged from the digital domain does so consciously and tactically. Matthew McIntosh’s theMystery.doc (2017), an analogue ‘hypertextual’ novel, is a case in point. Yet behind all these works is evidence of a new ontological imperative, a turning away from postmodern scepticism towards an ethically-informed ‘worlding’.
