This essay will aim to demonstrate the explosion of literary forms by digital practices through the analysis of two works whose media do not originally engage literature: the video game console with What Remains of Edith Finch by Ian Dallas, and a transmedia network involving Twitter, Spotify, a paper edition but also exhibitions through Clara Beaudoux’s Le Madeleine Project. We will analyze the narrative and fictional issues of each of these works, in order to demonstrate their eminently heuristic dimension (Bouchardon, 2014). They offer so many entry points for specific narratological and media questions that engage all of our definitions of the literary field. Researchers frequently strive to categorize these forms and designate them by a plurality of neologisms: Twittérature (Fréchette, Côté, 2013), Litteratube (Bonnet, Thérond, 2018), “Literature exposée” (Rosenthal, Ruffel, 2010). They constitute as many attempts to define these new territories, this evolving and unprecedented literary ecosystem. Above all these works show the eminent vitality of literary creation and literary analysis. The latter offers tools that are still up-to-date to approach reading experiences as they are now deployed on a plurality of media, including video game consoles and social networks towards which young audiences (as well as not so young) are now turning massively.