UNAIR NEWS – The rapid evolution of digital technology has reshaped various aspects of life, including the literary landscape. One of the most notable developments in this transformation is cyber literature—a form of literary expression that emerges and thrives in digital spaces.

Discourse on Cyber Literature

Rima Firdaus, SHum, MHum, a lecturer at the Faculty of Humanities (FIB), Universitas Airlangga (UNAIR), explained that cyber literature first gained traction in Indonesia during the 1990s. The publication of digital poetry works such as Grafiti Gratitude (2001) and Cyberpuitika (2002) by the Multimedia Literary Foundation (YMS) marked a significant milestone in the country’s digital literary movement. According to Rima, cyber literature did not emerge in isolation but as a response to existing literary structures. “Often, cyber literature is seen as a form of resistance against traditional newspaper-based literature and the dominance of major publishers, which have historically dictated literary legitimacy,” she explained.

Before the rise of cyber literature, the process of publishing literary works was lengthy and highly selective. Strict editorial standards often resulted in many works being rejected for failing to meet publishers’ criteria. Cyber literature has disrupted this model, giving writers the freedom to publish their work directly on blogs, online forums, social media, and other digital platforms.

However, Firdaus acknowledged that this newfound accessibility has sparked debate. “Many writers initially dismissed cyber literature, arguing that it lacked quality. However, over time, more and more authors have embraced social media as a creative space and a direct communication channel with their readers,” she noted.

Unique characteristics of cyber literature

Firdaus, who specializes in Indonesian Language and Literature, emphasized that the differences between cyber literature and conventional literature go beyond the platforms used for publication. The two forms also diverge in terms of reader engagement. While conventional literature positions the reader as a passive recipient, cyber literature encourages active participation.

Unlike traditional literature, which presents a finalized work, cyber literature fosters interaction, allowing readers to provide feedback and influence the story’s progression. This interactive nature makes digital literature more dynamic, whereas conventional literature remains static and unalterable once published.

“This is what I find most intriguing. In the past, readers and authors engaged through structured discussions, such as book reviews or fan meetups. Now, readers can instantly comment on an author’s social media posts, exchange messages, and actively interact. Authors can even seek direct input from their audience to refine their work,” Firdaus concluded.

Author: Selly Imeldha

Editor: Edwin Fatahuddin