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TRANSMEDIA
STORYTELLING
      Siobhan O’Flynn
 narrativenow.blogspot.com
      November 2009
DIGITAL STORIES
    TODAY...
     TRANSMEDIA
    CONVERGENT
    PARTICIPATORY
     INTERACTIVE
what’s convergent???


 DIGITAL   TRADITIONAL
 MEDIA      NARRATIVES
three ways of thinking
 about today’s online
‘stories’ & storytelling
FORM 1


STORIES   GAMES
FORM 1
FORM 1
CHARACTERISTICS?
FORM 1
CHARACTERISTICS?

 STRUCTURE         SPATIAL
  CLOSURE           OPEN
    PLOT         EMERGENT
REVEALS STORY   PLAY = STORY
FORM 2


EXTENDED     INTERACTIVE
NARRATIVES    NARRATIVES
FORM 2

DISTRIBUTED   INTERACTION
CUT SCENES      CHANGES
   FIXED         STORY
INTERACTIVE
STORYTELLING
World without Oil

• ARG
• Serious Game
• ‘What if’ scenario?
• How would your life change without oil?
• world without oil March-June 2007
the landscape has changed....
Jordan Weisman
42 Entertainment
Jordan Weisman
    42 Entertainment

• creator of A.I. ARG, I Love Bees,
  Why so Serious?


• "If we could make your toaster
  print something we would.”
42 Entertainment
42 Entertainment

• “Anything with an electric current
    running through it.
• A single story, a single gaming
    experience, with no boundaries.
•   A game that is life itself."
Transmedia Storytelling
MAMET
FORMS 1& 2
     STORY

CONTROL   CHOICE
BOTH ARE
PARTICIPATORY
EXPLORATORY
 FOSTER UGC
   SOCIAL
4 PROPERTIES OF DIGITAL
        ENVIRONMENTS



• PROCEDURAL - RULE BASED
• PARTICIPATORY - INVITATION TO ACT
• SPATIAL - WORLD, PHYSICS, NETWORK
• ENCYCLOPEDIC - eg. THE SIMS
WHAT DO STORIES
     DO?
2 VIEWS
• “Database and narrative are natural
    enemies.”
• Lev Manovich (2001)
•   http://vv.arts.ucla.edu/AI_Society/manovich.html
DAVID MAMET
          3 USES OF A KNIFE


• ‘Our survival mechanism orders the world
 into cause-effect-conclusion.’

• art & drama = ‘the human capacity to order
 the intolerable into meaning’
STORIES/storytelling are innate
 and function as the cognitive
 tool for organizing the world
  into a coherent, meaningful
          experience.
• Any meaningful negotiation of a database
  (vs. random) is potentially a story
• either of what is found
• or of the experience of finding
• Digital environments are story-spaces
  waiting to happen
• waiting for structure / design
FORM 3
FORM 3

  LINEAR      NON-LINEAR
   story        fragments
    plot       connections
progression    exploration
FORM 3
SWITCHING
MORTEN SCHøDT
    2003
INTERACTIVITY


CONTROL   CHOICE
INTERACTIVITY

DESIGNER      USER
CREATOR      GAMER
AUTHOR     PARTICIPANT
INTENTION


GOAL ORIENTED   EXPLORATORY
INTENTION
GOAL ORIENTED:   EXPLORATORY:

   PUZZLES           PLAY
   QUESTS           SPATIAL
    GAMES          EMERGENT
    TASKS        ENCYCLOPEDIC
PARTICIPANT IS
 CO-CREATOR
DIGITAL MEDIA
   = RULES
DIGITAL MEDIA
   = RULES
DIGITAL MEDIA
         = RULES
STORIES =
             GAMES =
•   GENRES
•   PLOT     •   GENRES
•   WORLD    •   GOALS
             •   INTERACTIVITY
STORIES

  LINEAR/     EMERGENT
NON-LINEAR

CONTROLLED     ACTIVE
 SCRIPTED    ENGAGEMENT
STORIES

CAUSE & EFFECT      LINKING
                   THROUGH
   = PLOT        ASSOCIATIONS
STORIES


      DYNAMIC
     RELATIONS
STORIES


 CONTROLLED      DYNAMIC
STORY THREADS   RELATIONS
STORIES

  STORY        STORY
CONTAINED     CREATED
    IN           BY
  DESIGN    PARTICIPANT
IF INTERACTIVITY ≠ PLOT,
HOW TO CREATE NARRATIVE
     COHERENCE?
         = STORY
      = IMMERSION
     = SATISFACTION
ROOTS OF
NARRATIVE
ROOTS OF
          NARRATIVE
• EPIC: Gilgamesh, Homer
• ARISTOTLE
• ARCHETYPES: Myths; folk tales, fairy tales
• GENRES = PLOT FORMS
THE EPIC
THE EPIC
• HOW DO YOU CONTROL A NARRATIVE
  OVER MULTIPLE DAYS TELLING?

• poet’s ‘word hoard’
• patterns, set pieces, echoes, allusions, short hand
  notation

• spatial design
HBO IMAGINE
POETICS
          LITERATURE

• THEMES
• PATTERNS
• IMAGES
• DOUBLES
• INVERSIONS
• TONE
POETICS
              FILM

• MISE EN SCENE
• LIGHTING
• PACING/EDITING
• POINT OF VIEW
• DEEP STRUCTURE (MCKEE)
POETICS
           DIGITAL MEDIA


• INTERFACE DESIGN (click vs. zoom....)
• TACTILITY
• AESTHETIC (cell phone, webcam, vs. HD)
• FUNCTIONALITY (ease vs. resistance)
hi-res.net
bigspaceship.com
Tip #1

  USE WHAT
YOUR AUDIENCE
ALREADY KNOWS
ARISTOTLE
ARISTOTLE
• FUNDAMENTALS OF GOOD DRAMA:
• PLOT
• CHARACTER
• SETTING
• UNITY OF TIME & PLACE
• 3 ACT STRUCTURE - rising/falling action
GENRE
    =
CONTRACT
PLOT
    =
CONTRACT
DESIGN
   =
NARRATIVE
PLOT
• HOW YOU TELL (delivery & genre):
• linear & non-linear plots
• in medias res
• causally connected i.e.:
• all events connected through cause and effect
• DISCOVERY & REVERSAL - SWITCHING
SCOTT
MCCLOUD
‘BLOOD IN THE GUTTER’
          =
     IMMERSION
LESS IS MORE
IMMERSION
= SATISFACTION
IMMERSION
    = SATISFACTION
• ACTIVE CREATION OF STORY
• COGNITIVE ENGAGEMENT OF
 AUDIENCE
• ‘WE - THINK’ / COLLECTIVE
 INTELLIGENCE PHENOMENON
story & plot =
       USER experience

IN FILM:
1Premise - ‘idea that inspires the story’
            the ‘what if?’ factor
2v.s. Controlling idea: ‘the story’s ultimate meaning
expressed through action & aesthetic emotion of the
last act’s climax’ (McKee)
in digital media
core of story = experience

• The controlling idea = the experience
• The centralbe the centralexpressed through the plot
  should also  experience experience that defines the
 interactive experience
• ‘Pirates all the way down...’
ASYLUM 626
OUR CHOICES SHOULD BE
     MEANINGFUL
  & DRIVE THE STORY
   / OUR EXPERIENCE
AUDIENCE &
      MCKEE’S PLOTS
• Archplot: Chinatown, Matrix, Star Wars...
• Miniplot: Blow Up, Short Cuts,
• Antiplot: Wayne’s World, Gerry
• BE AWARE OF YOUR STORY DESIGN
REVERSAL
      & DISCOVERY
• the most powerful elements of
emotional interest in Tragedy are
Reversal and Discovery as these
elements change our understanding of
the story(s)
FORM 3
NON-LINEAR
       PLOTS USE
• JUXTAPOSITION:
• MEANWHILE / FLASHBACKS
• REVERSALS & DISCOVERIES THAT
  CHANGE WHAT WE KNOW
• RECONFIGURE AS NEW STORY
• ‘Of course my films have beginnings,
  middles, and ends, just not necessarily
  in that order.’
• Godard
CHARACTER
• DEFINED BY ACTIONS (GAMES)
• OUR CHOICES DEFINE WHO WE ARE, NOT
 OUR THOUGHTS & OPINIONS

• CHARACTER IS THEN A FUNCTION OF THE
 PLOT

• POV - AVATAR, FIRST-PERSON
CHARACTER
SIMPLE VS. COMPLEX
Samsung's interactive video
   Follow Your Instinct
DAVID LYNCH
Interview Project
SETTING
• SETTING - contemporary focus on ‘story
 world’ (Tali Krakowsky, Alex McDowell)

• Henry Jenkins - Game design as narrative
 architecture

• spatial narratives are exploratory by nature
• setting can mirror, contrast, foreshadow actions
 & themes
Architecture
               = Narrative
• spatial/architectural design creates and defines
  opportunities for narrative direction.

• i.e. what is available in the space, the specifics of
  place already encode expectations as to the
  types of action we will encounter

• strip club vs. Court of King Arthur
• hospital vs. Star Trek but...Battlestar Gallactica?
TINMAN (verizon)
SPATIAL NARRATIVES
SPATIAL NARRATIVES

•   RELY ON:
•   ASSOCIATIONS
•   PATTERNS
•   MIRRORING & INVERSIONS
Errol Morris




Standard Operating Procedure
SPATIAL
ORGANIZATION
SPATIAL
  ORGANIZATION
• PHYSICAL STRUCTURES
• WORLD CREATION
• TIME LINE
• MAPS
• CHARACTER LISTS
OAKLAND
CRIMESPOTTING




 INTERACTIVE CRIME MAP
WHALE HUNT
  Jonathan Harris
• there is sooo much more....explore...
• Part 2, 3, 4.... coming
• Siobhan O’Flynn
• links archive at:
  www.narrativenow.blogspot.com

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