Pause and Effect Chapter 1
Interactive narratives. We see them every day. Video games, Movies, Books, and even everyday conversations are all considered interactive narratives. But a few questions come to mind: What is an interactive narrative? How does an interactive narrative apply to everyday life? Chapter 1 of Meadow's Pause and Effect book gives us the basic answers to these questions. It talks about the definition and the components that make up an interactive narrative. Meadows defines an interactive narrative as an individual's perspective of the surrounding landscape. It is an art form that combines traditional narrative with visual art and interactivity.
First of all, I was inspired by a few examples, such as Giotto, the Freytag triangle, and the time and space. Giotto is a painter of the 13th century who focused on the art of people's facial expressions. He was an artist that I've studied last year for my Art History Class. In comparison to other artists at the time, Giotto had a secret in mind to his paintings: perspective. Instead on focusing on many subjects, Giotto mainly focused on only one, important subject in his works by using a technique called the vanishing point. This technique allowed Giotto to create emotional experiences for his viewers. This idea of perspective changed the views of how people viewed their surroundings, as well as paved the way for new inventions such as the camera obscura.
Also, the Freytag Triangle, the diagram of a plot, reminded me of my high school English class. I remember when we used to associate the elements of the triangle with our assigned readings. The Freytag Triangle made it easier to understand both traditional and interactive narratives. It allows us to determine the structure of our stories, as well as help us make our stories more interactive.
Of course, my most favorite example of this chapter was when Meadows discussed about how time and space apply to a narrative. This example was truly fascinating because it makes us think about how we should create our stories without them being too long or too short. Unlike traditional narratives, interactive ones don't have to necessarily be ordered in a sequential, linear fashion. For example, my group and I had a couple of meetings about how our story should go. During these meetings, I saw that interactive narratives can be told in different tangents. These different tangents can either result in the original ending, or a totally different one. Now that's what I call interactive!
Overall, I'm enjoying Meadow's book so far. Before I read the first chapter, I didn't realize that almost everything around us had interactive narratives. I just saw movies as a bunch of motion pictures on the screen. Now, when I watch movies and play video games, I'm starting to see the different narratives and perspectives of those who designed them. These gadgets are not just a bunch of moving scenes put together. They're forms of art where people can interact by allowing them to make their own choices.
First of all, I was inspired by a few examples, such as Giotto, the Freytag triangle, and the time and space. Giotto is a painter of the 13th century who focused on the art of people's facial expressions. He was an artist that I've studied last year for my Art History Class. In comparison to other artists at the time, Giotto had a secret in mind to his paintings: perspective. Instead on focusing on many subjects, Giotto mainly focused on only one, important subject in his works by using a technique called the vanishing point. This technique allowed Giotto to create emotional experiences for his viewers. This idea of perspective changed the views of how people viewed their surroundings, as well as paved the way for new inventions such as the camera obscura.
Also, the Freytag Triangle, the diagram of a plot, reminded me of my high school English class. I remember when we used to associate the elements of the triangle with our assigned readings. The Freytag Triangle made it easier to understand both traditional and interactive narratives. It allows us to determine the structure of our stories, as well as help us make our stories more interactive.
Of course, my most favorite example of this chapter was when Meadows discussed about how time and space apply to a narrative. This example was truly fascinating because it makes us think about how we should create our stories without them being too long or too short. Unlike traditional narratives, interactive ones don't have to necessarily be ordered in a sequential, linear fashion. For example, my group and I had a couple of meetings about how our story should go. During these meetings, I saw that interactive narratives can be told in different tangents. These different tangents can either result in the original ending, or a totally different one. Now that's what I call interactive!
Overall, I'm enjoying Meadow's book so far. Before I read the first chapter, I didn't realize that almost everything around us had interactive narratives. I just saw movies as a bunch of motion pictures on the screen. Now, when I watch movies and play video games, I'm starting to see the different narratives and perspectives of those who designed them. These gadgets are not just a bunch of moving scenes put together. They're forms of art where people can interact by allowing them to make their own choices.
Comments
I thought a lot of the beginning was simply the evolution of narrative, which isn't really my cup of tea. I'm more interested in how ideas affect people than the ideas themselves.
What I did find interesting wasn't the mental framework for the ideas of interactivity, but the ideas behind the execution, such as an inside/outside system, the four steps of interaction, and the differing plot structures. Those have a direct impact in the experience the audience is going to have, and it's interesting seeing what he says about them.
Now, if you excuse me, I'm going to log off my AOL now and go watch The X-Files or play Sonic the Hedgehog or something.