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1 the Limerence Project The Limerence Project: Exploring the Affordances of Digital Media to Shape Narrative Experiences for Readerly Interactions By Marianna Shek Bachelor of Animation (Hons) Queensland College of Art Arts, Education and Law Griffith University Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy July 2016 1 ABSTRACT This research examines how writers can exploit the affordances of digital media to shape narrative experiences towards readerly interactions; that is, activities and behaviours distinct to literacy that give pleasure to the reader. Creating digital literature requires a multi-disciplinary approach, as it borrows language and design tools from games, film, visual arts, music, and creative writing. Despite being placed at this artistic confluence, works of digital literature are usually designed and critiqued based on gaming interactivity (Uglow 2014). My research seeks to address this imbalance by creating a story application for the tablet called Limerence. In producing Limerence, I propose a new framework to design digital literature: the transmedia triangle. In this exegesis, I draw on the work of Marie-Laure Ryan to classify how digital narratives can present interactivity, analysing three case studies through a transmedial narratology framework: Gone Home (2013), Journey (2012), and Device 6 (2013). From these case studies, I have furthered my understanding of readerly interactions. I then explored these concepts further through the creation of two minor studio projects. The first is a game-novel, a classic pathfinding adventure for middle-grade readers, titled Choose Your Own Death. The second is a community-based arts project called Player One/Player Two, where I acted as writing editor and co-producer. This project was produced by the Edge, State Library of Queensland, and was exhibited at the In Real Life Festival (2015). The processes of developing these early studio works honed my skills to create my major research output Limerence. This story application presents themes of voyeurism, love, and friendship facilitated through social media platforms. Its creation occurred in three iterations, each version being exhibited and refined based on audience feedback. This led to the final identification of three distinct types of readerly interactions present in my work: controlling rhythm through digital tmesis, solving multimodal riddles, and exploring spatial–temporal framing. 2 In addition, as part of my studio practice, I conducted a series of interviews with practitioners in the fields of games, writing, and transmedia. Their insights combined with my studio output led to the development of the transmedia triangle. This model realigns digital narratives to consider gaming, readerly, and filmic interactions equally. It offers a new approach for digital writers to shift away from hybrid reading-gaming interactivity and to focus instead on the pleasure of the reader when designing for interactivity. 3 Statement of Originality I declare that this work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Marianna Shek 15/07/2016 4 TABLE OF CONTENTS List of Figures 7 Acknowledgements 11 Glossary of Terms 12 PART 1: FRAMING THE PROJECT Chapter 1: Introduction 16 Chapter 2: Convergence of Media 22 2.1 Is It Transmedia? 26 2.2 Massaging the Boundaries: Cross Media, Multimodality and Digital Literature 36 Chapter 3: Building a Transmedial Narratology Framework 41 3.1 Old Media/New Media 43 3.2 Traditional Narrative Structures 49 3.3 Digital Narrative Structures 53 3.3.1 Ryan’s Interactive Onion 55 3.3.2 Ryan’s Participatory Dichotomy 63 Chapter 4: Narrative Analysis 65 4.1 Preliminary Review 65 4.2 Case Study One: Device 6 72 4.2.1 Spatial–Temporal Storytelling and McCloud’s Infinite Canvas 74 4.3 Case Study Two: Gone Home 80 4.3.1 Balancing Ludic/Readerly Designs 84 4.4 Case Study Three: Journey 85 4.5 The Pleasure of the Digital Reader 89 4.5.1 Immersion, Engagement and Flow 93 PART 2: STUDIO PROJECTS Chapter 5: Methodology 97 5 5.1 Studio Experiments 97 5.2 Practitioner Interviews 98 5.3 Critical Reflection 99 Chapter 6: Studio Experiments 100 6.1 Choose Your Own Death 100 6.2 Player One/Player Two 105 Chapter 7: Major Studio Work, Limerence 119 7.1. The Limerence Project 7.1.1 Themes 119 7.1.2 Visual Design 124 7.1.3 Limerence as a Map 137 7.2 Critical Analysis of Limerence 144 7.3 Digital Writer’s Toolkit 150 Chapter 8: Insights from the Limerence Project 155 8.1 Digital Tmesis 155 8.2 Multimodal Riddles 161 8.3 McCloud’s Infinite Canvas 165 8.4 The Transmedia Triangle 169 Chapter 9: Conclusion 172 References 182 Appendices Appendix 1: Summary of Propp’s 31 functions 193 Appendix 2: Narrative Analysis 195 Appendix 3: Limerence Cast and Crew Credits 204 Appendix 4: Player One/Player Two Writers’ Guidelines 209 Appendix 5: Player One/Player Two Credits 212 Appendix 6: Player One/Player Two Observations 214 Appendix 7: Digital Writer’s Toolkit Website Links 215 Appendix 8: Digital Writer’s Toolkit Interview Questions 216 Appendix 9: Digital Writer’s Toolkit Interview Transcripts 220 Appendix 10: Interview with Anthony Mullins 223 6 LIST OF FIGURES Unless otherwise noted, all works are by Marianna Shek. Figure 1 Steve Peters Flow Chart Defining Transmedia Storytelling.CC license. 28 Accessed 12 May, 2015 http://nerdist.com/a-look-at-transmedia- storytelling/ Figure 2 Robert Pratten Types of Transmedia 2011. Reproduced from Getting Started 29 in Transmedia Storytelling 2nd ed. p14. CC license. Accessed 5 January 2016 http://www.conducttr.com/training/getting-started-in-transmedia- storytelling-2nd-edition/ Figure 3 Identifying Extensions to an Existing Story 2016. Adapted from Robert 30 Pratten 2011, “Narrative Space” Getting Started in Transmedia Storytelling, 2nd ed. P11. Accessed 5 January 2016 http://www.conducttr.com/training/getting-started-in-transmedia- storytelling-2nd-edition/ Figure 4 Brick Man Experience 2015. Exhibition at Convention Centre, Brisbane 31 Figure 5 Robert Pratten Diagram of Portmanteau Transmedia 2011. Reproduced 33 from Getting Started with Transmedia Storytelling, 2nd ed. p20. CC license. Accessed 5 January 2016 http://www.conducttr.com/training/getting- started-in-transmedia-storytelling-2nd-edition/ Figure 6 Galvin Scott Davis Dandelion (Screenshot from story application) 2012. 35 Played 12 January 2016 https://itunes.apple.com/us/app/dandelion/id521903725?mt=8&ign- mpt=uo%3D4 Figure 7 Freytag’s Pyramid 2016 49 Figure 8 Simple Branching Narrative 2016 55 Figure 9 Examples of Mazes. Courtesy of Wikimedia Commons, Public domain. 56 Accessed https://commons.wikimedia.org/wiki/File:Labyrinth_1_%28from_Nordisk_f amiljebok%29.png Figure 10 Sea- anemone Structure. Reproduced from Avatars of Story, by Marie-Laure 57 Ryan. Minneapolis, MN, USA: University of Minnesota Press. p103. By permission of Marie-Laure Ryan. Figure 11 Network Structure. Reproduced from Avatars of Story, by Marie-Laure 57 Ryan. Minneapolis, MN, USA: University of Minnesota Press. p103. By permission of Marie-Laure Ryan. Figure 12 Structure of a Game with Predefined Scenario and Multiple Endings 58 Reproduced from New Narratives: Stories and Storytelling in the Digital Age, edited by Ruth E. Page and Bronwen Thomas, by permission of the University of Nebraska Press. Copyright 2011 by the Board of Regents of the University of Nebraska. Created by Marie-Laure Ryan. Figure 13 Embedded Narrative Structure 2015 60 Figure 14 Open World Narrative 2016 61 Figure 15 Diagram Showing Navigational Pathways for Reading 2016. Original work 69 Building Stories, a graphic novel by Chris Ware. 7 Figure 16 Simon Flesser Device 6 (Screen shot 1 from mobile game application) 2013. 72 © Simogo Studio. Figure 17 Simon Flesser Device 6 (Screen shot 2 from mobile game application) 2013. 74 © Simogo Studio. Figure 18 David Morris Frankenstein (screen shot of story application) 2012. © Inkle 75 Studio. Figure 19 Bd Field of Hotap. From Book of the Dead of Ani showing the afterlife of 76 Hotap. Courtesy of Wikimedia Commons, public domain. Accessed 3 June 2016. https://commons.wikimedia.org/wiki/File:BD_Field_of_Hotep.jpg Figure 20 Simon Flesser Device 6 (Screen shot 3 from mobile game application) 2013. 78 © Simogo Studio. Figure 21 Steve Gaynor Gone Home (Screen shot 1 from game) 2013. 79 © Fullbright Company Figure 22 Steve Gaynor Gone Home (Screen shot 2 from game) 2013. 80 © Fullbright Company Figure 23 Steve Gaynor Gone Home (Screen shot 3 from game) 2013. 81 © Fullbright Company Figure 24 Journey (Screen shot from game) 2012. © ThatGameCompany. 86 Figure 25 Diagram of Branching Narrative Map for Choose Your Own Death 2015 99 Figure 26a Page excerpt from Choose Your Own Death 2015 © Rock On Kitty 100 Figure 26b Tara Brown Amelia 2015. Watercolour and Photoshop. Illustration from 101 Choose Your Own Death © Rock On Kitty Figure 27 Diagram of Story Application Version of Choose Your Own Death 2015. 102 Figure 28 Player One/Player Two installation 2015. Exhibited at the In Real Life 104 Festival, Brisbane Powerhouse. Figure 29 Speaker Box 2015. Part of Player One/Player Two installation at In Real 105 Life Festival, Brisbane Powerhouse. Image courtesy of The Edge, State Library of Queensland. Figure 30 Portal Station 2015. Part of Player One/Player Two installation at In Real 106 Life Festival, Brisbane Powerhouse. Image courtesy of The Edge, State Library of Queensland. Figure 31 Bubble Bobble Station 2015. Part of Player One/Player Two installation at 108 In Real Life Festival, Brisbane Powerhouse. Modeller and photographer: Jessica Fay Figure 32 Diablo Station 2015. Part of Player One/Player Two installation at In Real 109 Life Festival, Brisbane Powerhouse. Photographer: Tara Brown Figure 33 Zelda Exhibit 2015.
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