Non Linear Storytelling
Non Linear storytelling is a form of storytelling without the narrative being told in chronological order. For example, Pulp Fiction as the film follows a series of stories. Other examples of Non Linear/ experimental narratives include Im not there (2007), Mr Robot (2016) and Memento (2000)
Cinema is linear by nature as by default there is a limit to Non Linear storytelling.
“In ergodic literature, nontrivial effort is required to allow the reader to traverse the text"- Espen J Aarseth
Literature is a form of storytelling- the reader does not simply read from left to right
Its up to the reader to determine the order of the narrative
The 'Jigsaw Puzzle'
The Garden of Forking Paths (1941)
Seen as the pre version of hypertexts
Another example of non linear storytelling is through Game books. 'Choose your own adventure' and 'Endless Quest' are example of game books, which allow the reader to chose their own narrative and decide the protagonists ending.
'The Hallway of Infinite Doors" is an example of a Hypertext/ Hypermedia-'Myst'
Interactive Videos and I-Docs also utilise forms of non linear storytelling. 'I-Docs' allow users to explore documentaries in any order they wish to. This is also used within music videos to allow their audience to interact with the text, for example in Aloe Blacc's music video for 'Love is the Answer'. This music video tells the narrative of a band preparing to shoot a music video and the lead up to the performance. The interactivity of this music video allows the audience to swap perspectives of each band member as the camera follows each character as they walk
along to the hall where the performance takes place. The viewer does not have to follow just one characters perspective, instead they can choose between different perspectives as there are four continuous thumbnails for the viewer to choose from.
I think the interactivity element of the video is effective as the viewer does not need to be continuously switching between perspectives as we get the same idea that all the characters are heading towards the same place, though I can understand why some viewers may not like this, in fear they are missing out on something crucial. Although the characters take separate paths and different things they encounter on their journey, some characters cross paths and you see two main characters interact. Some viewers may appreciate the novelty of characters crossing paths for interactivity.
Traditional storytelling consists of a story told in chronological order and with a passive audience watching. A passive audience is thought to be an audience that will sit and consume the text, unable to interact. Though to some extent audiences that sit and consume texts are not merely passive as the human brain works continuously to decode meanings and messages shown on screen.
'Interactivity' is essentially a conversation between the user and the content. Viewers who participate in interactive entertainments are given two gifts that are never offered to audiences of passive entertainments: choice and control.
Physical Virtual
I have learnt it is important to tailor your piece to your audience to what you want to achieve. I found when designing a critical story path, it quickly became easy to escalate my narrative out of control through providing too many choices and options for the audience. Therefore Id like to perfect this and develop my skills to successfully create a successfully engaging non linear story.
https://drive.google.com/drive/folders/1Ay2AcjP6KsFkiQOdqxylkCqnEoCXDWFj
file:///C:/Users/Meg/Desktop/Twine%20Nonlinear.html
Cinema is linear by nature as by default there is a limit to Non Linear storytelling.
“In ergodic literature, nontrivial effort is required to allow the reader to traverse the text"- Espen J Aarseth
Literature is a form of storytelling- the reader does not simply read from left to right
Its up to the reader to determine the order of the narrative
The 'Jigsaw Puzzle'
The Garden of Forking Paths (1941)
Seen as the pre version of hypertexts
Another example of non linear storytelling is through Game books. 'Choose your own adventure' and 'Endless Quest' are example of game books, which allow the reader to chose their own narrative and decide the protagonists ending.
'The Hallway of Infinite Doors" is an example of a Hypertext/ Hypermedia-'Myst'
Interactive videos
Interactive Videos and I-Docs also utilise forms of non linear storytelling. 'I-Docs' allow users to explore documentaries in any order they wish to. This is also used within music videos to allow their audience to interact with the text, for example in Aloe Blacc's music video for 'Love is the Answer'. This music video tells the narrative of a band preparing to shoot a music video and the lead up to the performance. The interactivity of this music video allows the audience to swap perspectives of each band member as the camera follows each character as they walkalong to the hall where the performance takes place. The viewer does not have to follow just one characters perspective, instead they can choose between different perspectives as there are four continuous thumbnails for the viewer to choose from.
I think the interactivity element of the video is effective as the viewer does not need to be continuously switching between perspectives as we get the same idea that all the characters are heading towards the same place, though I can understand why some viewers may not like this, in fear they are missing out on something crucial. Although the characters take separate paths and different things they encounter on their journey, some characters cross paths and you see two main characters interact. Some viewers may appreciate the novelty of characters crossing paths for interactivity.
Designing Interactive Narratives
Traditional storytelling consists of a story told in chronological order and with a passive audience watching. A passive audience is thought to be an audience that will sit and consume the text, unable to interact. Though to some extent audiences that sit and consume texts are not merely passive as the human brain works continuously to decode meanings and messages shown on screen.'Interactivity' is essentially a conversation between the user and the content. Viewers who participate in interactive entertainments are given two gifts that are never offered to audiences of passive entertainments: choice and control.
They get to chose what to see and do within an interactive work, and the decisions they make have an impact upon the story (Carolyn Miller Digital Storytelling: A creator’s guide to interactive entertainment (p.55 - 56)This idea of choice and control is referred to as 'agency'. In computer games we have multilevel platforms and so have a large level of agency compared to when watching a film, there is no agency as the viewer can not control the narrative.
Modes of Interactivity
Physical Virtual
Mouse click
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'poke' or 'wave' on social networking sites e.g Facebook
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hug
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FaceTime
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Wave
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Voice memos
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Talking
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Send request
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Smiling
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Virtual Reality
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Shouting
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Send a ‘gif’
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Typing on keyboard
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Comment on a post
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Body language
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'Like' or ‘follow’ - Facebook/ Instagram
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Interactive story structures
Typically an interactive story or game will follow the structure of Levels, having a level they need to complete in order to move on to level 2, then level 3 and 4 etc. Within each level is a 'Node' and these are decision points and multiple option the audience can choose from. A decision will then lead to a particular outcome.
Designing a critical StoryPath
To Conclude.....
https://drive.google.com/drive/folders/1Ay2AcjP6KsFkiQOdqxylkCqnEoCXDWFj
file:///C:/Users/Meg/Desktop/Twine%20Nonlinear.html
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