They are marrow monkeys,
and their evolution is just beginning.
--Erik Loyer, Chroma, Chapter 0

Print authors are obviously not the only artists who began to think hypertextually before the popularity of home computing. The theorists who most influenced the canon were people like Derrida, Barthes, and Foucault, who influenced much more than just literature. In their own way, other media express multilinearity, ergodicism, self-reflexivity, ambiguity, and other characteristics of hypertext. As computer technology improves, allowing more and more overlap between digital art forms, such as film and video and computer games, the old walls defining hypertext's territory will collapse. Hypertext authors will no longer be homogenous; some have already begun competing with an unthinkable diversity of media, technology, and artistic backgrounds. The hypertexts that signal the survival of the medium are the ones that have incorporated influences outside of the literary and hypertextual canons, that are multimedia, or, more rarely, use hypertext to structure language in wholly new ways. Hypertexts have an evolutionary advantage, thankfully, since the field of web design has its own aesthetics that hypertext borrows from.