Guest Post: Shipman Reviews The New Digital Storytelling by Bryan Alexander
Chapter 4 is a comprehensive review of Web 2.0 storytelling and the fragility of systems existing today, but perhaps gone tomorrow. Dr. Alexander covers distinct types of blogs used in sharing stories; blogs are ubiquitous and the barriers to entry negligible. He covers epistolary novels and diary/journal-based stories and provides numerous examples. One example was News from 1930, which “posts selections from each day’s Wall Street Journal” during the early days of the Great Depression—in essence, a blog as a realtime history lesson. But as we know, the blogosphere is bigger than history, there also exists a market for various fictional stories which include reader interaction/collaboration. Also included are examples of character blogging (as Alexander notes: “Bloggers are characters”) where personalities are revealed over time in a serial nature. Twitter has developed into a unique format for storytelling, forcing the user to pack as much as possible in precious few words/characters. Wikis, social images and Facebook are also covered and explained in ways that made me think about “how” I use social media.
Chapter 5 covers in detail social media storytelling…and this is one of my favorite chapters. Alexander explains podcasts in a way that was accessible and in a way that made me want to “do” a podcast! A podcast is limited to audio, but a web video places a whole new spin on our ability to digitally tell our stories. Chapter 5 is rich in resources and insight.
In chapters 6 and 7 Alexander discusses gaming and storytelling. This may be the part of the book that was over my head (I’m dubious of the real utility of “gamification” in a meaningful/productive way). One sentence did jump off the page: “One key aspect of game-based storytelling is the immersion of the player in the story’s environment.” Indeed, “intimacy” is an enormous missing ingredient in more than storytelling and absolutely necessary in proficiency in just about any endeavor. One other sentence made a big impression: “Children also learn a deep secret about art, which is that the less detailed the representation of a character, the easier it is for us to identify with him or her.” I believe guys like the internet Oatmeal guy and the creator of Zen’s recent post have figured out this phenomena isn’t limited to children.
Part III Combinatorial Storytelling; or, The Dawn of New Narrative Forms
Chapters 8 through 11 covers the networked book, mobile devices, and alternate reality games. The networked book resonated with me because of something from my distant career on submarines (early 80’s); we would write a story where periodically storytellers would add a sentence and half to an evolving text. The results were always amusing and never predictable. Networked books sound very similar to our collaborative efforts 30 years ago, but with the ubiquity of digital tools, opportunities abound. For example “transmedia storytelling,” where “story content is distributed across multiple sites and media; the movie trilogy, an anthology of animated films, comics, computer games, a massively multiplayer online game, Web content, and additional DVD content.” This dispersion of story content and the variety of venues allows users a more “immersive experience”—-the intimacy Alexander described earlier. Mobile devices are literally changing just about every aspect of our world from political meetings, classrooms, clinics “now that those present can hit the Web for fact checking or peer support.” An excellent recent example was the squashed attempt of the United States Naval Institute’s board to change the organization’s mission. Platforms like Twitter, Facebook, and LinkedIn were used to get the word out to members who took action. New tablet devices will continue to drive this phenomena. Alexander’s treatment of alternate reality games revealed “worlds” created with our world by game participants of such products as Second Life.
Part IV Building Your Story
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