Arcadia

The Guardian
Besides, the app, while slickly engineered, explores a terribly old-fashioned concept: the idea of forcing a reader to navigate her own path through the material echoes the mid 20th-century avant-garde experiments in publishing books as unbound stacks of paper. Others may enjoy “reading” in this way, but I found it annoying to be burdened with the labour of having to decide which storyline to follow next. Telling things in the right order, after all, is a crucial part of any Storyteller’s job. Why delegate the task to an amateur?
See the full review

Emily Short's Interactive Storytelling
Digital Narratives of Time, Death, and Utopia
I’m inclined to reject what Pears says about letting people pick their favorite characters and genres out of his novel, or about wanting the structure to be invisible. The diverse meanings of the text are important, and we perceive the multiplicity best if we see all the strands. The reader’s choice of a reading strategy also matters, but choosing a reading strategy does not have to mean skipping bits. Read Arcadia, read the whole thing, read the form as well as the words. It has more to say that way. Whatever his views on digital narrative in general, and however little he may be acquainted with the rest of the field, Pears has written something substantive that makes a powerful use of the medium.
See the full review