Transmedia Story Creation
Module 11: Narrative and Emerging Technologies
By Enrique Melon and Frankie Jeffery
Module Outline
Associated Readings
- Wardrip-Fruin, N., & Harrigan, P. (Eds.). (2004). First Person: New Media as Story, Performance, and Game. Cambridge: The MIT Press. Part VII, Beyond Chat and Part VIII, New Readings
- McCloud, S. (2003). "Time Frames." In Wardrip-Fruin, N., & Montfort, N. (Eds.). The New Media Reader. Cambridge, MA: The MIT Press, pp. 711-735. Online via WebCT Readings
Background
This week’s first set of readings examine issues in time. The “Beyond Chat” chapter discusses “meaningful conversation” with applications to assist those that have time and those who don’t. The “Time Frames” chapter presents a rather unique discussion of how time is addressed in comics via new media. This summary will briefly examine the assigned readings and present links to additional readings to further your own exploration or class discussions.
The second set of essays discusses three conceptualizations of what the authors call “emerging textual forms”. As we shall see from these examples, this new genre allows the reader to become an active participant and in some instances, shape the story based on the reader’s interactions and inputs. The essays highlight that given the nature of computer media and gaming, the lines between what we define as a reader and a player have now become blurred. The traditional paper based narrative has emerged into stories that require adjustment and interaction from the reader. The authors also contend that this perceived dichotomy between story and game as two independent categories is not necessarily distinct as both complement and overlap each other to create a different type of literary experience.
DEFINITIONS
Comics – sequential art.
Conversation Map – a graphical application that accepts several thousand messages and analyzes those messages using a set of computational linguistics and sociology techniques in order to generate a summary of the messages that includes who is talking with whom; the themes of discussion that are important to the conversation; and some of the emergent definitions or metaphors of the discussion.
Meaningful conversation – a two-way interaction in which the message is communicated by one party and understood as having value by another.
Meme – an idea that is passed on from one human generation to another; the cultural equivalent of a gene.
Motion lines (zip ribbons) – drawn line within a comic panel that represents the paths of moving objects through space.
Tensegrity (Tensional Integrity) – the term coined by Fuller/Snelson that explains the geometric structure and flexibility of objects. Described in the chapter as “bones are the compression struts, and muscles, tendons, and ligaments are the tension-bearing members. …Understanding the mechanics of cellular structures could lead to new approaches …” Cyberneticists analyze the brain as a neural network of patterns; scholars recognize the value of visualizing social, demographic, and political networks of information.
Very Large Scale Conversations (VLSC) – a networked-based social community with shared interests or needs in which the individuals (in excess of hundreds) participate as individuals rather than respond as groups. Participants in the VLSC usually do not know the addresses of the others before the start of the conversation.
Voice chips – silicon chips that play prerecorded voice messages or respond to commands.
Creole Discourse - a new language that arises when two different language communities come into contact.
Cyborganization - the transformation of human subjects into "hybrid identities that cannot be thought without the digital inscription that produces them.
Forced Movement - a narrative technique that forces the reader to take certain actions and direct movement around the plot in certain ways.
Interactive Fiction - a program that simulates a world, understands natural-language text input and provides a textual reply based on events in the world
Analysis
Beyond Chat
“Beyond Chat” examines three aspects of meaningful conversation. There is online (synchronous) chat in Very Large Scale Conversations (VLSC) for those who have time to spend in communication with others; delayed online chat via n0time for those who lack time for online chat yet wish to communicate within a community; and for offline communication in which a task and response is addressed via the form of voice chips.
“What does a Very large-Scale Conversation look like?” Warren Sack
Warren Sack describes the use of VLSCs and how online conversations with thousands of users can be tracked and plotted using software applications such as Conversation Map. Sack describes the work of Dourish and Chalmers (1994) and the identification of three communication/navigational paths:
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Social – people helping others find information
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Semantic – use of a search engine to retrieve information
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Spatial – conversion of data sets into dimensional images via a graphical interface
If we consider the amount of information that is generated daily we can understand the practical application of such network algorithms. The quest to organize and make sense of such vast amounts of information is necessary for society to generate, track, and think about definitions and metaphors of information. By using VLSC maps, individuals become part of a much larger organization and can access a body of knowledge that is not bounded by space or time.
“Community of People with no time: Collaboration shifts” Victoria Vesna
Sack's article presents one end of the online communication spectrum – those people who have time to spend online. Vesna’s chapter discusses the other end of the spectrum – those people who have a need to communication, but have no time to build community. Vesna identifies three factors to establish communication networks or communities:
The author discusses how time impacts our use of the internet and our reliance upon the medium. Cyberspace becomes the place in which time becomes artificial. Of interest is the response by Strickland about Vesna’s n0time project which datamines social networks.
“If things can talk, what do they say?” Natalie Jeremijenko
Voice chips are silicon chips that record or play prerecorded messages. Jeremijenko explores the possibility of what she calls the secondary function: “. . .as a simple instrument to slice through the history of our attempts to swap attributes with machines and be able to understand the nuances of complex sociotechnical systems.”
In her essay she describes how voice chips have been used in the past, successfully and unsuccessfully, and how they might be used in the future. First marketed in 1978, the chips fall into 7 use categories:
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Translators – reports, alerts, or alarms; example – CPR alarm device
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Transformers – transforms the voice; example - used with hearing impaired
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Voice as music – uses voice as a sound effect or music; example – Einstein quiz game and correct responses for motivation
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Locating voice – speaks from here to there about being here; example – GPS position of an accident
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Expressive voice – expresses emotions; example – Hallmark cards
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Didactic or Imitative voices – supports primarily educational or children’s toys; example – talking books
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Dialogue – conducts a dialogue with the user; example – shower radio
Voice chips are successful when their use makes sense, when the interaction with voice is necessary to achieve an outcome, or the interaction with the human is meaningful. The author suggests that if we understand how voice chips are used in the social realm, then we will be better able to design voice recognition in future products.
“Time Frames” by Scott McCloud
Of all the semester’s reading, “Time Frames” is the most unusual in presentation. McCloud discusses the element of time through the use of panels, space, and motion in the comic genre by using a comic format. He states that comics are “sequential art” and during the course of the paper suggests that comic artists should consider the use of new media.
McCloud’s first discussion of the panel explains how the artist conveys to the reader time and motion. The panel can present one large continuous scene that is read from left to right or the same scene may be broken up into smaller panels, still linear in nature, which conveys the same interactions or relationships. In addition to the panel is the use of the gutter (space) between panels. The gutters help to clarify the movement of time and action across the panels and are a convention recognized by comic readers. McCloud describes how various panel shapes don’t alter time, but they do impact the reading experience. Comic readers draw inferences from the shapes.
Another use of the panel is one to convey a length of time either through changing the lateral length of the panel, repeating panels, or the use of borders (or not).
McCloud explains that the comic artist uses a simple graphic line to convey motion. The single line suggests simple movement across time of an object. As comic artistry evolved, so did the graphic line into the motion line. Rather than a single line, objects are repeatedly drawn. Zip ribbons illustrate the movement of objects through space. Streaking is another graphic effect that portrays time and motion. Finally, McCloud introduces the Japanese treatment of using subjective motion in which the reader becomes a player in the comic. The reader senses motion through the first person lens.
Of particular interest is McCloud’s suggestion that new media genre will entice comic artists to think beyond the linear presentation of motion and time and use non-linear panels and art lines to allow the reader to jump to points of interest.
New Readings
Lexia to Perplexia
The first example of the New Readings chapter describes the intricacies of Talan Memmott’s (2000) Lexia to Perplexia. This hyperfiction story combines a series of dynamic screens with text, icons, pictures and HTML code that attempt to illustrate the relations between users, their screens and networks. An interesting feature of this piece is that the author devised his own Creole language by incorporating the organic elements of the English language with the inorganic of programming (HTML) jargon as a way to personify the connection between man and machine.
The basic principals of the language are touched upon. It is explained that the first stage of the language is pidgin, which isn’t truly a language at all but rather an amalgam using reduced vocabulary and simplified verb forms to communicate. This is an evolutionary process and eventually evokes enough interest to prod the user into making the next jump. The context of this language is obtrusive and confusing at first, but after getting accustomed to the visual syntax of the organized text, the mind begins to make subconscious leaps. The * is categorized as a wild card, and is used in place of vowels or consonants. An example used is *.fect. This can be construed as infect, defect, disinfect, and so forth. A useful action employed by humans and possibly on an unconscious level is sub-vocalization. This is the use of the windpipes without passing air through them, thus not actually making a physical noise. The importance of this action when learning and processing such a visual language is the pronunciation of the concepts in ones head. There is also the merging of the inorganic with the organic, sometimes forming an oxymoron in our ‘reality’, but in this world having a completely relevant meaning. The specific environment is constantly changing and requires the subject to employ three sensory modalities: sight, sound, and kinesthesia. The latter, roughly defined, means the sensation of moving in space. Through this kind of communification, read as when humans and intelligent machines are interconnected in a network whose reach is reinforced by naming the few exceptions “detached” machines, flesh and silicone are interconnected and can intermingle through electronic interfaces that have evolved over the course of time but yet are still in the synergistic stages of completion.
Online Caroline
Online Caroline is an interactive mystery story where the reader becomes a central character of the plot. The story unfolds as you log into Caroline’s web page and become “her friend”. Through the use of the web page, video streams and a series of emails that you receive from Caroline herself, the reader becomes absorbed in Caroline’s personal drama. Every day that you receive an email from Caroline, she feeds you pieces of her daily life, enough to grasp your interest and make you come back for more. As part of these emails, Caroline asks you personal questions that depending on how you answer influence the storyline in some fashion. Personalization is a key narrative technique of this work and it serves as an excellent vehicle for captivating the audience. Reader’s also experience a level of impotence as Caroline, at points ignores your input. The story ends tragically for Caroline and you are left guilt ridden and wondering if you would have been able to save her by either giving her other advice or by not reading the story in the first place.
Online Caroline is an excellent representation of these “new readings/emerging texts” that the authors discuss. It exemplifies how narratives have evolved through the infusion of technology. This story not only allows the reader to become fully immersed in the story but it also makes the reader an interactive participant of the plot. The elements of captivity and forced movement are also worth noting. The story forces you to take certain actions or movements (i.e., opening emails, visiting the website, answering questions, etc) yet you are constrained to only certain input parameters that channel the plot accordingly.
It’s all of these elements that together make this simulation/story a captivating reading experience.
You can experience Online Caroline by visiting the website www.onlinecaroline.com
Interactive Fiction
The last essay by Nick Montfort, Interactive Fiction as “Story”, “Game”, “Storygame”, “Novel”, “World”, “Literature”, “Puzzle”, “Problem”, “Riddle”, and “Machine”, helps us put our arms around the issue of computer games as a type of narrative. Montfort contends that there has been an unnecessary controversy around the semantics of whether a game should be considered a story. He points out that “what is important to realize is that while there are such things as “games” and “stories” many new media artifacts are neither of these, but employ elements from both”. He argues that what is of importance is distinguishing between these elements and determining which of these are essential to the work.
Montfort focuses his discussion on a particular type of new media form: the interactive fiction (IF). IF as defined by Montfort is a program that simulates a world, understands natural-language text input and provides a textual reply based on events in the world. Montfort contends that by definition IF is neither a story or a game, rather it is a “world” combined with a parser and instructions for generating text based on events in the world. He also concludes that the world, or “story” should not be encumbered by the traditional sense of what we think a logical progression should be, rather that singular objects may exist on a wholly different level. He mentions that these overarching means sometimes even hinder the components of IF, and that to truly understand the system one must consider the aspects of the specific ‘world’ and not be weighed down by the natural constraints of our subconscious matrices.
Montfort discusses IF in terms of 10 figures or elements:
Story – IF produces narratives as a result of sessions of interactions. The users inputs, parsed actions, become part of the narrative text.
Game – IF is a potential narrative that may contain game elements, however the objective of IF media is not to “win” or “beat” a contender. Therefore, it is not necessarily considered a game by strict definition. IF may contain game elements but they are non-essential.
Storygame – IF works can involve story and game but neither are entirely necessary for it to be considered an IF.
Novel –IF works can be considered as an “electronic novel” or short stories depending on the number of interactions and the length of the work.
World - The “world” is essential to the IF. Without a simulated environment the IF can not take place.
Literature - IF does not employ the traditional mode of literariness to make things confounding, rather it increases the difficulty and length of perception as it is an end in itself and must be prolonged.
Puzzle – The puzzle is essential to IF because it serves as the vehicle for interacting and navigating through the worlds.
Problem – Problems are questions raised for solution. They play the same important role as puzzles.
Additional Resources
Conversation Maps in Healthcare. http://www.healthyi.com/conversation-maps.aspx?ToPage=reviews
If you’re curious about the usefulness of conversation maps, see how the healthcare industry views the maps. "We at the ADA [American Diabetes Association] believe that Conversation Maps are one of the most important innovations in patient and physician education in a decade." - Karmeen Kulkarni, Past President Healthcare & Education American Diabetes Association (Certified Diabetes Educator)
The Big Triangle. http://www.scottmccloud.com/inventions/triangle/triangle.html
Scott McCloud’s graphical representation of visual iconography.
Doodle from wikipedia. http://en.wikipedia.org/wiki/Doodle
More than you could possibly ever want to know about this simple line drawing – from history to the silver screen.
Link to Lexia to Perplexia. http://tracearchive.ntu.ac.uk/newmedia/lexia/
Article with more in depth analyis of Lexia to Perplexia. http://www.brown.edu/Research/dichtung-digital/2005/2/Dreher/index-engl.htm#2
References
Dourish, P. & Chalmers, M. (1994). Running out of space: Models of information navigation.” Paper presented at HCI 1994, Glasgow.
Dreher, T. (2004) Talan Memmott's "Lexia to Perplexia." Paper downloaed from www.dichtung-digital.com
McCloud, S. (2003). "Time Frames." In Wardrip-Fruin, N., & Montfort, N. (Eds.). The New Media Reader. Cambridge, MA: The MIT Press, pp. 711-735. Online via WebCT Readings
Wardrip-Fruin, N., & Harrigan, P. (Eds.). (2004). First Person: New Media as Story, Performance, and Game. Cambridge: The MIT Press. Part VII, Beyond Chat and Part VIII, New Readings
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