epic fantasy myth cycles
TEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTET
individual and group engagement
TEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTEXTET
narration in multimedia streams
Follows is the augmented transcription of a Twitch stream clip of approximately two minutes and 18 seconds. This visualization divides the stream's narrative components into five parts: (1) chat room text, typed by viewers; (2) live dialogue from the streamer; (3) in-game character dialogue; (4) in-game typed notifications and instructions; and (5) user choices and actions. In this game, user choices influence subsequent decisions, and therefore choices are of lasting consequence. Here, the streamer asks for viewers' input to determine ideal actions. The "narrative" in this system is layered, with different forms of narration, description, and dialogue overlapping in real and imagined contexts. What can we learn about the narrative by observing its transitions, trends, and characters, both actual (players and viewers) and imagined (in-game characters)? How are these distinct communicatory modes suited to different kinds of narrating, and what are the interactions between them?
FailureTown Twitch Stream, YouTube Summary, "Detroid: Become Human"
Choices - player choices allow the streamer and viewers to interact with and modify the story world.
Chatroom - typed narration by viewers, asking questions about the story world, making comments, and playing social roles.
Streamer Dialogue - a metanarrative that serves as viewer feedback and connects viewers personally with player actions.
Game Text - a metanarrative that communicates to the player and viewers (directing, instructing, and challenging them).
In-game Dialogue - character gialogue that can be transposed against that spoken or typed by viewers and players.
[Transcript begins at 05:56]
Camera pans across a graveyard of assorted android bodies and body parts.
gedafterdark (typed)
so this is like if hell met the inside of a jawa sandcrawler
failuretown (spoken)
This is Hell. What in the world?
gametext (typed)
REPLACE DAMAGED PARTS
FIND OPTICAL UNIT
FIND PUMP REGULATOR
FIND AUDIO PROCESSOR
failuretown (spoken)
Do we not have any eyes? Because our optical units are reading.
We turn a corner and an arm lunges toward us. We jump to the ground.
failuretown (spoken)
Huh…
We see a flashing object and pull ourselves toward it. It is a THIRIUM PUMP REGULATOR, STATUS: FUNCTIONAL.
Oh, yes. Okay, perfect.
We reach for the object and are grabbed by another torso, this one belonging to the pump regulator.
android torso (spoken)
Wait, wait… please don't do that… I want to live…
gametext (typed)
KILL OR SPARE?
We select: Spare.
android torso (spoken)
Thank you…
failuretown (spoken)
Well, how could he, right?
magicchests (typed)
terrifying
failuretown (spoken)
This is truly terrifying. It's like a Terminator that feels.
We wander to another nearby body and see a flashing eyeball.
failuretown (spoken)
This… No?
This torso, too, lunges toward us. We struggle and eventually press a button on the back of its neck. It recoils and turns off.
magicchests (typed)
wait do we have an off switch?
failuretown (spoken)
Oh… What?
Oh my God, are we dead? What just…
Oh…
Excuse me?
> 05:45
We turn to the torso again. It crawls toward us using only its arms.
second android torso (spoken)
Please…
I see it…
I don't want to live anymore…
gametext (typed)
KILL OR SPARE?
failuretown (spoken)
Oh…
A gauge runs down. If we don't press it, a choice will be made for us. We select: KILL.
failuretown (spoken)
Oh…
Sorry guys, I had to make a decision last second.
gametext (typed)
LOOK
We look at the body and examine the optical unit. It reads: FUNCTIONAL.
Elsewhere, it blinks red, reading: INCOMPATIBLE. We step away from the unit.
> 07:36
failuretown (spoken)
What's up with you?
You look alive…for now.
He presses on its chest.
gametext (typed)
KILL OR SPARE?
failuretown (spoken)
Ok guys, what are we gonna do here?
We select "SPARE."
We gotta find a way to not do this to people… But how?
We check another body and find a compatible audio processor.
Oh!
[Transcript ends at 08:22]
orientation in print text and visual media
I made the following visual narrative models in order to view narrative systems alongside and interacting with one another.
Graduate Thesis Project Daniel T. Kessler
NYU Gallatin School of Individualized Study Updated 12.12.19
Graduate Thesis Project Daniel T. Kessler
NYU Gallatin School of Individualized Study Updated 12.12.19
You may use this feature to take and submit notes.
Agency
Avatar
Conflict
Character
Frame Theory
Intelligent Systems
Future Narratives
Narrative Discourse
Storyplaying
Virtual World
You may use this feature to look up commonly used terms or to recommend useful additions.