One of the most interesting aspects of Wittig’s netprov which is “situated at the intersection of literature, drama, mass media, games, and new media” is the latter component, that of “new media”. The opening act, the “time-travel game,” is a “micro-work of imaginative fiction on the spot,” and Wittig aptly surmises that “had [they] all done this in text messages or in Twitter [they’d] have been doing netprov.” The way in which netprov is inextricably tied to social media networks strikes me as somewhat precarious in our current political climate. Summoning back to McIntyre’s warnings of living in a “post-truth” society, a form of play that relies on false narratives, on the moments “of vertigo where people don’t quite know whether it’s real or not” seems to me a slippery slope, especially since netprov and and “fake news” share hostile platforms like Twitter. Mark Marino’s game “Los Wikiless Timespedia” is a good example of a potentially dangerous form of netprov. The game “imagines the Los Angeles Times going completely to an online wiki format and then getting derailed;” considering the contemporary upsurge of “fake news” articles that circulate the web, a game that intentionally uses the template of a news organization seems to be transgressing the ethical boundaries of netprov.
Even more troubling is Wittig’s “idea for a netprov that could be done in conjunction with the Presidential election in the U.S. in the Fall 2012.” Although he is presumably “joking around” in this instant, and that “netprov is usually parodic and satirical” there needs to be careful consideration when crafting netprov or other sorts of alternate reality games. Jane McIntyre warns that “some facts matter more than others” in an era in which individuals interpret truth through their feelings rather than through objectivity (McIntyre 10). Such a netprov may have only comedic and fun-inducing intentions, and yet the outcomes may include political turmoil and chaos.
Despite this skepticism towards certain examples of netprov, other elements of the format are very appealing. For instance, Wittig says that “even though most of the story was carried in Twitter, for “Grace, Wit and Charm” we actually had two nights of live theater at Teatro Zuccone in Duluth.” This idea of translocating a story–from the cerebral, creative, literary realm to that of the real, physical, palpable world–through play is highly appealing, especially since I personally think altering the world through literature is extremely fun: think of Harry Potter World, for instance. Additionally, netprov can, in this way, keep the spirit of literature alive in an increasingly digitized world; in using platforms like Twitter to tell stories, social media no longer caters solely to the “clout” generation.