X.media.publishing978-3-642-18663-9/1.pdfHagebölling "Elements of a History o f Interactive Dramaturgy"; Claus Pias "Action, Advent ...

X . m e d i a . p u b l i s h i n g

Heide Hagebölling (Ed.)

Interactive Dramaturgies New Approaches in Multimedia Content and Design

With 175 Figures

Springer

Heide Hagebölling

Kunsthochschule für Medien Köln Academy of Media Arts Cologne Ecole Superieur des Arts et Medias 50676 Köln, Germany

Email: [email protected]

The following parts have been translated from the German by Neil Solomon, Heidelberg: Preface, general introduction, introductions to Parts I to VIII; the contributions of Heide Hagebölling "Elements of a History of Interactive Dramaturgy"; Claus Pias "Action, Advent­ure, Desire", Florian Stangl "Games of Gods", and "The Day After" (poem within "In the Place of Coincidence"). Peter Krieg "Dialogue with Machines" has been translated from the German by Neil Solomon, Heidelberg / Peter Krieg.

Library of Congress Control Number: 2004102320

I S B N 978-3-642-62231-1 I S B N 978-3-642-18663-9 (eBook) DOI 10.1007/978-3-642-18663-9

This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilm or in any other way, and storage in data banks. Duplication of this publication or parts thereof is permitted only under the provisions of the German Copyright Law of September 9,1965, in its current version, and permission for use must always be obtained from Springer. Violations are liable for prosecution under the German Copyright Law.

Springer is a part of Springer Science+Business Media springeronline.com

© Springer-Verlag Berlin Heidelberg 2004 Softcover reprint of the hardcover 2004

The use of general descriptive names, registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

Production and typesetting: LE-T^X Jelonek, Schmidt & Vöckler GbR, Leipzig Cover design: KünkelLopka, Heidelberg Printed on acid-free paper SPIN 10798841 33/3142/YL 543210

To Manfred and David

v

takes as its object both formative and aesthetic prop­erties and narrative, structural, and communicativefeatures.

The contributions to this volume refer to the fol­lowing general topics and areas of application:

• e-learning in intercultural contexts• Interactive media in museums and exhibitions• Intelligent interfaces, hybrid environments and

data spaces• Interaction and gaming• Experiments with interactive films• Development of multimedia and platform-trans-

cending television formats• Visual language and codes of interactive comics• Elements of a history of interactive dramaturgies• Interactivity, communication between man and

machine• Methods of conceptualizing interactive programs

Interactive Dramaturgies is also a picture book. Itillustrates key sequences and structural interconnec­tions , it documents important applications and levelsof design, it conveys the visual character of individualexamples, and it provides a broad spectrum of artistic,design-conceptional, and aesthetic approaches. The re­sult is a collection of materials that reflects the creativerichness of interactive productions.

My special thanks go out to all of the authors, whocontributed to this publication in addition to theirprofessional obligations and who participated in a di­alogue leading to its development and completion. Mygratitude also goes to Manfred Eisenbeis, the foundingdirector of the Academy of Media Arts Cologne, whostood by my side with numerous suggestions . Heart­felt thanks are also owed to the responsible editors atSpringer-Verlag, Hermann Engesser and Iutta MariaFleschutz, who have provided professional counselthroughout the course of the project.

The approach taken here, of interactive or expandeddramaturgy, was inspired by Gene Youngblood, whosemodel of expanded cinema had already anticipatedcritical media developments in the seventies.

Preface

The present publication assesses the value of dramatur­gic approaches that take into account the unique con­ditions of multimedial and interactive communicationby going beyond the traditional concept of dramaturgyand into the realm of an expanded dramaturgy.

The concept underlying Interactive Dramaturgiesresults from years of practical and teaching experi­ence on the part of the editor in the area of interactivemedia. As a member of the Arbeitsgruppe Medienent­wicklung/Medienforschung (AGM; Group of MediaDevelopment and Research), the editor had alreadydeveloped the basic foundations of an interactive dra­maturgy by the 1980s. The concept of dramaturgywas first introduced here as a construction- and user­relevant property for the development of video-texprograms. The linking of this network system with in­teractively controllable laser video disks then led to theoutlining of a multimedial dramaturgy, which also in­cluded the segmented, nonlinear moving image for thefirst time.

A redefinition and broadening of the dramatur­gic discussion crystallized out of the questions raisedat this time about how multimedia contents are to beconveyed to the active user, and this new discourse con­centrated on the design of nonlinear communication.

This was followed, in the middle of the nineties,by the step-by-step creation of those technologicalpreconditions for interactive online and offline use, re­sulting in a pervasiveness in the widest possible rangeof fields of application: from art to commerce and fromscience to entertainment. The variety of dramaturgicapproaches reflects this differentiation and diversity.

Accordingly,this volume aims to show and analyzethe diverse conceptions, structural features, forma­tive realizations , and dramaturgic forms of interactive,multimedial projects on the basis ofbasic texts and casestudies from various fields of application. Thus, it isa publication addressed in equal measure to designers,practitioners, and theoreticians.

Interactive Dramaturgies succeeded in gaining theparticipation of 17renowned authors, designers, andartists, who - on the basis of their own work in thefield - threw light on this topic in papers publishedfor the first time here. On the basis of exemplary cases,they present elements of an interactive dramaturgy that

Cologne,June 2004

HeideHagebolling

VII

Contents

IntroductionAspects of Interactive Dramaturgies: Thematic Frame and Authors' Contributions

Heide Hagebolling.. . .. . . . . . .. . . . . . . . . . . . . . . ... . ... . ........ ... ... . . .. . . . .. ....... .. 1

Part 1 Multimedia/lnteractionlDramaturgy

Elements of a History of Interactive DramaturgyCultural Fingerprints in the Digital NetHeide Hagebolling. . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . 9

Oral Tradition and the Drama of Antiquity: Early Forms of a Dramaturgy .. . . . . . . . 9Intermedia Production and Hierarchical Storytelling:Medieval Mystery Plays and Shakespearean Theatre.. ... . .. ... . ........... ... .... 10Virtuality, Imagination, and Multimedia Dramaturgies:Non-European Theatre and Wagner's Gesamtkunstwerk.. ... ... .... .. ... ..... .. . 11Polyscreens and Polyscenes:From Total Theatre (TOTALTHEATER) to the Cinematic Avantgarde 11From Simultaneous Cinema to Digitality: From Bauhaus to Media Lab . . . . . . . . . . . 12Expanded Cinema: Avant-Garde in Art and Design . . . . ... ... . .. . ... .. ... .. ... .. ... 12From Panorama to CAVE: Immersive Cinematic Experiences . . .. . . . . . . . . .. . . . . . . . . . 13From Videoplace to Electronic Cafe: Interaction in Virtual Space .. . . . . .. . . . . . .. .. 14From the Telephone to Hypermedia: Interactive Networks . . . . . . . . .. . .. . . . . . . . . . . . 14From Viewer to Actor: Interactive Dramaturgies. ... .. ... ....... .. . . . . . . . .. . .. .. .. .. 15

2 The New Horsemen of the ApocalypseThe Role of Drama in EducationBernard Allien 17Drama is a School for Life ..... ........ .... .. . . .. ..... .... . .. . .. ... .... ..... ..... .... 17"Real -Life Drama" as Represented bythe Media....... . ... ...... .. . .. . ........... 17The Role of Fictional Drama .... .... .. .. . . . ... ... . .. . .. ... . ... ... . .. ... .. . .. . .. .. .. . . 17Web-Based Interactive Drama .. . .. .. . .... ... ... .... .. ... . ... ... ... . . . . .. ... .. .. ... . 18From Participation to Creation... .. .. .. . .. ... ... ........... .. .... ... ........ .. ..... . 18The Need for New Systems ofThought and New Processes for Learning...... ... .. 18Drama, Learn ing and Emotion. . . ... .. . . . . . . . . . . . . . .. . . . . .. . . .. . . . . . . . .. . . . .. ... . . . . 19Facilitating Knowledge Acquisition Through Dramatic Play .. . ... ... . .. ... ......... 20The Role of Interactive Dramatic Play... .. .. . ...... .. . .. .. . . ... . . .. ....... .. .... .... 20Mental Flexibility. . . . .. ........ .... .. ... .. . . . . . . . . . . . . . . .. ... ... . . ... .. ... .. . . . .. .. . . 20Violence: from the Virtual to the Real World .... ... ............ . ... ... ... .. .. .. . .. . 21The Role of Drama in Forming Identity.. .. ... ... .. .. .. . .. . . . . . ....... .. .. . .. .. .. . . . 21Apocalypse as Revelation.. .. .. .. .. . . . . . . . . . ... . . . . . . . .. .. ..... .. . . .. . .. . .. . . . .. .. .. 21

IX

X Contents

3 Dialogue with MachinesCan Computers Be Interactive?Peter Krieg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Part 2 Cultural Learning

4 The Poem Gita-GovindaSystem Concepts for Cultural learning DocumentsRanjit Makkuni .. . . . . . .. . .. .. . . . .. . . .... . . . .. . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 35

The Gita-Govinda 35Temporal-Based Information Access .. .. .. .. .. .. .. .. .. . .. .. .. . .. .. . .. . .. .. .. . .. . .. . 35Spatially Distributed Information Access .. .. .. . . .. . .. . . . .. .. .. . . ... ...... ... ... . ... 36Distributed, Multilevel Exhib it Solution .. .. . ... .. ... .. ......... ... .. . .. .. .. .. .. .. .. 36Re-Read ing as "Seeing one Category in Terms of Its Relationship to Another" . . . 37Re-Reading as "AccessingDeeper Levels"............. .. ....... .... .. .. .... .... .. .. 37Representat ion of Multilevel Content... .. ..... ... .. .. .. .. .. .... . .. .. . .. . .. .. .. .. .. . 37Presentation System Implementation. .. . . . .. . . .. .. . . . .. .. . . . .. .. . .. . . . . . . .. . .. . . . . 38Space Based Exh ibit Design . . . .. . .. .. .. . . . . . .. . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . 38Dramaturgy in Space and in Time ......... .. ............ .. ... ..... .... . .. .. . .. .. .. . 41Understanding the Design ofCultural Space .. .. . .. . .. . .. .. .. .. . .. .... . .... . .. . .... 41

5 InteractivelySetting in Motion the Wheel of lawTelling the Life and Philosophy of Buddha: The Mural Paintings of the Templeof the Emerald Buddha in BangkokTitus Leber. . . . . . . . .. . . . . . . . . . . . . .. .. . . . .. . . .. . . . . . . . .. . . . . . .. .. . . . .. . .. ... .. . .. .. . . . 43

The Premises . . . . . . . . . . . . . . . . .. . . .. .. . . ... . . . . ... .. . ... . . . . ... . . . ... . . .. ... .. . .... . . . 43Navigational Metaphors. .. . . . . . . . . . . . . . .. .. . .. . . . . . . . . . . . . . . . . . . . . .. . . ... . . . . .. . . . . 43The Daedalus-Paradigm: BasicConstruction-Principlesof Interactive Universes in Cultu ral Multimedia Productions. .. .. .. .. ... ..... .. ... 46Build ing Daedalus' Maze. .. . .. . . . .. . . . . ... . .. ..... .. ... . .. ... .... ... .. . . . . . ..... . . . . 46Ariadne's Thread: Howto Find One's Way Outs 47Navigation: Event Maps and Mind Maps .. .. .. .. . .. . .. 47Multi-Layering or the Mental Camera at Work .. . .. . .. . .. .. .. .. . .. .. . .. .. . .. .. . .. .. 53The Mechanics of Intellectua l Tease .. .. .. .. .. ... .. .. .. .. . .. .. .. . .. . .... . .. .. . .. .. .. 53

6 In the Place of Coincidence Archaeology of the UnconsciousThe Sigmund Freud CD-ROMNofrontiere Design 57

The Freud Studio (Entstehen Katz) .. .. .. .. ...... .. .. .. .. . .. .. . .. .. . .. .. . .. .. .. . .. .. . 57Sigmund Freud CD-ROM : Archaeology ofthe Unconscious.. .. .. . .. . .. .. . .. .. .. .. .. 59I Don't Know How my Mind Works (Entstehen Katz) 59[co] Operationg Systems (Pete r Blakeney). .. . . . . . . . . . . . . . . . ... .. . ... . . .. . . .. . . . .. . . 60In the Place ofCoincidence (Peter Blakeney). .. .. .. .. .. .. .. . .. .. .. . .. .. . .. .. .. . .. .. 61Freudian Objects (Markus Huber, Managing Director)..... .. ... .... .. .. ... ...... .. . 62The Dream: Archaeology of the Archaeology(Entstehen Katz) . . . . . . .. . . . .. . . . ... . . 62Linear and Non -Linear Storytelling (Ulf Ha rr + Peter Turtschi, Art Directors) . . . . . . 63The Aud ience (Lisa toschner, Project Manager) 64I am the Center of the Universe (Entstehen Katz) 64

Freudian Objects (Ulf Harr, Art Director) 69Design of Experience (Entstehen Katz) 69Feedback. ... .... ... .... ....... .. ............. ...... ..... .... ... ............ ..... .. .. 72

Part 3 Museum & Media

7 Setting the Stage for InteractionDigital Craft and the Museums of the 21st CenturyJames M. Bradburne 75

Collecting, Communicating - The Role of the Museum.. 75Museums in a High-Value Economy .... .. .. .. ... . .. .. .. .. . .. ... . .. ... .. . .. .. .. ... .. 78Interaction Comes to the Museum... ..... ... ...... ... .. .. ..... ....... ........ ...... 79Bottom-Up: The Changing Role of the Visitors... .. .... .. .......... ........... .. .. . 80The Body in the Library: From Exhibit to Engagement -a Shift from StoryTelling to Story Reading ... .. .. .. .. . .. .... . .. . ... .. . .. .. .. . ..... 81Mine Games - Visitors as Actors - Interactive Theatre as Public Forum .. . . . .. .. . 84New Metropoles - The Interactive Museum... .. .... . .. . .. ... . .. .... .. . .... .. . ..... 86MAK Frankfurt - AMuseum for the Dot.Com 90ANew Identity - mak.frankfurt...... ....... .... .. .... .... ..................... .... 91ANew 'Piazza' - from Visits to Use.. .. .... .. .. .... .......... . .... .. .. .... .. ....... . 91New Emphasis - from Information to Skills .............. .... ..... .. .... .. ...... .. 92Bottom-Up - Re-Visitingthe Permanent Collections..... .. . ..... . ..... .. ..... . . . 92Digital Craftat mak.Frankfurt - Collecting Interaction .. .... ... ..... ....... .... ... 93

8 Interactive Narrative and Integrated Applications in a MuseumThe Role of Interactive Media in the J. Paul Getty Museum, Los AngelesKenneth Hamma. . . . . . . .. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Background. . ...... .. .. ... . . .... . ...... . ..... . ...... . . ...... . ... ... . . . .. . .. .. ... .. .. 99ArtAccess. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99ArtAccess Modules and Structure..... ...... ...... ..... .... .. ...... .. .. .. . .. .. .. ... . 101Growingthe System as Part of Museum Education.. ...... .. .. .. .. .. . .. .. ... .. .. ... 104Consistency and Quality in Developing Additional Content... ... . .. ..... ... .... .. . 107Shared Data for Museum Applications and Web Publishing . .. . ..... .. ...... .. .. .. 110

Part 4 MediaTecture & HybridSpaces

9 metaField: Interactive DataSpacesExploring the Home/Work/Art-Making/Play-Spaces of the FutureRon MacNeil, William Keays.. ... .. .. .. . .. ... . ... ... .. ....... . .. . .. . . . . .. . . .. . . . .... 115

Concepts for Information Arch itecture .. ..... ..... .. ..... .... ... .. .. .. . .. .. .. . .... .. 115The Background: The Kids' Room and PingPongPlus .. . .. ..... .. .. ...... ........ .. . 115The Genesis of the metaField Concept. . .... .. .. . . .. . . . .. . . ... . ... . . . .. . .. . . . . .. .. . . 116Dances with Words...... .. .. . . . . ... . . . . ... .. . .... ... .. . .... . . . . . . ...... .. ... .... . . .. 116Letter Blocks. ... .. ... ... .. .. .. ..... .. .. .. . ... ... . ... ......... . ... ...... .. .. . .. .. .. . .. 117Picture Puzzle . . . . .. . . . .. . .. . . .. . . . . . .. .. . .. ... . ....... ...... . .. . . .. .. . . . . . ... .. . .... 117WalkingAround Data .... . . . .... . .... .. . . .... .. .. . .. ... .. . . ... ...... . .. ... . . . . ..... . 118meta Field Maze .. ... .. ... .... .. .. .. . . . .. ... ... .. . ... ... .. . . .. ... ... . .. .. . .. .. ... .. .. 118How It Works .. . 119

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XII Contents

Later Experiments. .. .. . .. .. . .......... ............... ... . .... .. ....... .. ... . ... . .. .. 120Interactive Dramaturgies.. .... . ....... .. ..... ..... .. ....... . . . ........ . .. ...... . . . . . 122

10 The CrossingLiving, Dying and Transformation in Banaras:A Multimedia Cultural Learning Project for the Next MilleniumRanjit Makkuni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Banaras.. .... .. .. .. . .. .. . .. .. ... 123The Crossing Exhibition . ........ .. . . . . ... .. . .. .. . .. . ... .. . .. .. . . . . . .. . .. .. . . . . ... . . . 125Research Directions: Correlating Learning Spaces with Physical Spaces .. ... .. . .. . 125The Integral Relationship of Life and Death, the Individual and the Whole. . .. .. 129Annex. .. . . . . . . ... .. ...... . . .. .. ... . ... . . .. . . . . . . . . .. . . . . .. .. ... . . . . . .. . .. . . . . . .. ... . . 129

Part 5 Gaming & Interaction

11 Action, Adventure, DesireInteractionwith PC GamesClaus Pias . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . .. . . . .. . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Interactivity and Action..... ..... . ... .. .. ... .. . . . . . . . . . .. . . . . . .. . . . . .. .. .. . .. . .. .. .. 133Reacting: Action Games... ..... 135Making Decisions: Adventure Games.. . .... ..... ...... .. .... .. ......... ..... ... .. .. 138Planning: Strategy Games... .. .............. ... ... ... ... .. .. . .. ..... . .... .. .... .. .. 142Typology and Dramaturgy.. ... . ... . . .. . .. .. .. . . . .. . . . . .. . .. . .. .. .. . .. .... . . .. ... .... 146

12 Games of GodsBlack&White: The Omnipotence of the PlayerFlorian Stangl. . .. . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 149Black&White: ANew Gameworld 149Player, Lord and Master, Ruler: Open Roles ... .. . .. ... . .. . ...... . .. .... ... . .. ...... 149Conduct and Action: The Player's Character is the Character of the Game ..... ... 150The Virtual Alter Ego: Like Player, Like Creature .... . .. .. .... .. .. .. . .. .. .. ..... . .. .. 151Multiplayer Modus: Bloody Battle and EntertainingChats ........ .. .. .. .. .. . .... .. 153An Independent Continent: No Communication, No Power. .. .. .. ... . .. .. . .. .. .. .. 155

Part 6 Hands@Film & Television

13 Interactive MoviesPractical Experimentation with Parallel Video StreamsChris Hales .. ... .. ... .. .. ..... . .. .. .. . .. .. .. . ... ...... ........ . ..................... . 159The Context... . ... ... . . .. .. . . . ... .. . . . . . .. .. . . .. ...... . . . . .. .. .. .. . . . .. .. . .. .. ... . . . . 159From Single to Parallel .... .. . . .. .. .. ... . . .. . .. . ... ... ... .... . .. .. ... .. .. .. ........ .. 160Bliss .. .. .. . ... ... ..... .. .. . . ... . . .. .... .. ... ... .... ... .. . . . . . .... . . . .. .. . .. .. .. . .. .. . 161Grandad. ... .. . . . . . . . . .. ... . . .. . . . . .. . . .. .. . . . .... ... .. . .. . . .. . . . .. .. .. . . . .. ... . .. . . . 163Feedback . . . . . . .. . .. .... .. . .. ... . .. . . . .. . . . . . . . . . . . . . . . . . . . . .. ..... .. . .......... .. .. . 165Conclusion . . . . ... .... .. ..... ... . .. ..... .. . .. .. . . . .. ... .. ... .. .. ... .... .. . .... .... ... . 166

14 TypoToons™ & TattleToonsChildren's InteractiveTelevisionFrank A/serna . . . . . . . . .. . . . . . . . . . .. . . . . . .. . . . . . . . .. . .. . . . . . . . . . . . . . ... . . . ... .. .. ... . . 167

ANew Way to Make a lV Broadcast Interactive.. ..... .. ... .... .. .... . .. ... .. .. .. .. . 167Technological Innovations 167Interactive Televis ionflnteractive Storytelling. . . . . . ... . . . . . . . .. . . .. . . . .. . . . . . . . . . . . 167TypoToons . . .. . . .. . . . . . .. . . . .. .. . . . . . . . .. . . . .. . .. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . 168TattleToons 172Annexe 176

Part 7 www.Literature & Stories

15 Interactive Stories:Strategies and Modes of Interactive Dramaturgy Writing Public Literaturein an Evolving Internet EnvironmentJudy Malloy . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. .. . . . . . . . . . . . .. . .. .. . .. . . . .. .. 181

Telling the Story in a Public Forum - Then and Now .... .. .. ... .. .. .. .... .. .. ..... 181Uncle Roger - TellingStories in a Closed Commun ity .... .. .. ... .. .... . .. .. .. . .. . .. 181The Roarof Destiny Emanated from the Refrigerator -Writing Stories for the Global City.. .. . .. ... .. . ... ... .. . . . .. . . .. . . ... .. ... ... .. . . ... 182Reader Paths in the Contemporary Internet Environment.... . .. . .. . .. .. . .. .. .. . .. 184Collaborative Narrative Datastructures - The Participant as Co-Author .. .. .. .. .. . 185Thirty Minutes in the late Afternoon - The Collective Creation of Characters. .... 186Name is Sci be - Individual/Commun ity Interactions in a Virtual World . .. .. . .... 187Future Developments. . . . .. .. .. . .. .. .. ... ... .... .. ..... ... . ... . ... ... .. ....... ... .. . 187

16 Click and Roll: "Paul is Dead"The Rock and Roll Murder MysteryJohn Sanborn.... . . ... .. . . ... .. .... . . . ..... . .. . ... . . . .. .. .... . .. . . .. . . . ... . . .. ... . . . 191

The Concept .. . .. .. .. . .. .. .. . .... . . .. ... .. .. . .. .. ... . . ... . . .. ... ... .. . .. . .. .. . . . .. .. . 191Innovations ... . ... . .. . . .. .. ... .. .. .... ... ... ... ... ... ..... . . . . . .. . .. . . . .. . .. .. . . . .. . 192StoryOverview and Characters: The Story Background .. .. .. .. .. ..... . .. . .. .... .... 193The Characters. ... . . .. .. . . . . . .. .. . . . . . . . .. . .. . ... . ... .. .. .... . .. . . . . .. . . . . . . .. ... . . . . 193Story Breakdown: the First7 Weeks .. . .. . .. . .. . .. .. . .. . .. .... .... .. . .. . .. .. .. .. . .. . 195Structural Overview. . . ..... . . .... . .. .... . .. . . . . . . . . . . .. ... . . .. ... . .. . .. .. . . . .. . .. .. . 200Ma in Screen Types and Alternate Websites... .. ... . .. .. ... 201The Screen Types . . .. .. . . . .. .. .. . . . . . .. . . . .. . .. . . .. . . . .. . .. . . .. . .. . .. . .. . . . . . .. . . . 201"os" Screens. .... ... .. .. ... ... . ... . . .... . .. . ... . .. . .... . .. .. .. ...... .. .... . . . .. . . . . . . 202"sr" Screens. . . .. . . . . . .. . . . .. . . . . . . . . . .. . . . . . . .. . . ... . . . . . .. . . . . . . . . .. . . . . . . ... .. .. .. 202Special "sr" Region : Elly's File .. . .. .. .. . .. . .. .. .. .. .... .. .. .. . .. .. .. .. .. .. .. .. .. . .. . 203The Alternate Websites. . . . . . . .. .. .. .. ... . .. .... . .. .. ... ... .. ..... . . . . ... . . . . . .. .. . . . 204Chat Bots 205Interface and Functionality. . .. . . . . . . . . . . .. . . . . . . . . .. . .. .. . . . . .. . . . . .. ... . . . . . . . . . . . 205NavBa r Buttons. .. .. . . . ... . . . . .. .. . . . . . ... . . .... .... .. . .. .. .. . . . . . . . . .. . . . .. .. .. . . . .. 206Social and Community Areas and the ir Connection to the Story... . .. .. ... . .. .. .. . 208

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XIV Contents

Part 8 Interaction.Content.Design.com

17 Frames: At the Edge and BeyondConstructing the Emerging Languagesin Computer-Mediated Narratives and CommunicationsAlok B. Nandi.. ... . .. . .. . . . . . . . . . . . .. .. .. . . . . . . .. . ... .. . . . .. .. . . . .. .. . ... .... .. . .. . . 211Writing in Space and Time.. . . .. ... .. .. .. .. . . . .. . ... ...... .. .. .. ... .. .. ............. 211Sequential Art.. ...... . . . . . . . . . .. . .. .. .. . .. .. .. .... ... .. . .. .. .. . .. . . .. . ..... ... .. .. . . 212Narrative Systems.. ... ....... .. .. .. .. . .. .. .. .. . ... ..... . .. . . . . . .. ... .. . . . .. ... .. .... 213Frames, Pages, Screens. .. . .. . . .. ... . . .. .. .. . .. ... ... ... .. .. .. . . . .. . . . .... ....... ... 213In Praxis: Conception-Direction.... ....... .. . .... .. .... ......... .. . .. .. .. .. .. ... .. . 216On, Behind , Beyond the Screen .... .. .. .. .. . .. . .. . ......... ... .. ..... ... .. . .. . .. .. . 218Complete the Incomplete.. .. .. .. ... .. .. .. .. ... ........... . . . . . . . ... .. ... ... ...... .. 218

18 The Circular PageDesigning a Theatre of ChoiceMichael Utvich........ ..... . .. . ... .. .. .. ... .. .. ...... .. .. . . . . .. .. . .. .. . .. ... . . .. . .. . 221Beyond Narrative.. . ... . .. ... .. . . .. .. . . . .. .. .. . . . . . ... .... . . .. .. . . . . . . . . .. ........... 221Thinking Interactively: The Med ium and the Message .. .. .. ... .. ... .. .. . .. .. . .. .. . 221The Conversational Model. . . .. . .. . .. .. . . . .. .. .. .. ..... .. ... .. . . ... ... . . .......... .. . 222Visiting the Money God .. ... ... ... ... .. .. .. .. ........ . . . .. . .. . . ... .. . .. .......... .. . 223Everyday Experiences . .. .. . . .. .. .. ... .. .. .. .. .. . ..... . .. .. . .. .. ... . . .. . . .. .......... 224AVisit to the Grocery Store.. ... .... .. .. .. .. .. . .. . .. .... ...... .. .. .. .. .. ... .. . .. ... .. 224From Proscenium to Browser: The Evolution of Interactive Media 225Myth and the Spoken Word..... ... .. .. .. .. ............. 225Interactivity and Writing. .. . .. . .. . ... .. .. .. .. ... ... . ... ....... .. ... .. ... .. . . . . . .. . .. 225The Stage and the Proscen ium.. ... .. .. .......... .. ...... .. .. .. ...... .. ........... .. 226Television and Media Fragments.. .. .. .. .. ... ....... .. .. .. ... .. ... .. .. .... .. .. . .. .. 226Interactive Media: Networks & Dialogues .. .. .. . .. .. .. .. ..... .. . .. .. .. . .. . .. .. ..... 228TV vs. Interactive. ... .. .. .. ... .. . .. . . . .. . . . ....... ... ... ... ..... ......... . . . . . . . ... .. 228The Creator's Challenge: ADialogue of Experience .. .. . ..... .. .. .. .. ... . .. .. .. ..... 229

19 Write a Story as a BuildingInteractive Media Content DesignMichael Utvich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231The Multi-narrative . . .. . . .. . . . . .. .. . . . . .. . .. . .. . . ... .. . . ... .... .. ... .. . . ... . .. .. . . . . 231The Museum as Story Archtetype 231Architecture and Models. .... .. .. .. .. ..... .. ... . ... . .. ..... .. .. ... .. ... ... ......... . 232

Aboutthe Authors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257