In learning new media methods and means via both background technical aspects in order to write to it, and by addressing it as a reader, I am beginning to suspect that not only writer consideration of the diversity of potential user but of attitude as well must be taken into account.
In reading Marquez, as noted, I’m perhaps not getting the full value of even this linear text. What mental frame of mind is keeping me on the single path of meaning? Why, with this novel, am I not flying above or below the words, zig-zagging to create something more from the sentences?
I am reluctant to face mine enemies in Silent Hill 2. I remember stopping at a breathtaking point where I can see them coming at me. When I check the date at which I stopped my earnest gameplay, it seems to coincide with a time in reality that threatened.
In learning the technique of writing story in new media format (and just to clarify process, I refer to the original producer as writer/writing, and the end player as reader/user–even while this as well is a writer/writing position as defined by Barthes) it will not be enough to stretch one’s mind to encompass one’s own questions of direction, but to take in as well the wealth of audience in experience, knowledge, intellect, and mood.
Storytron is one means of opening up that process that will bring characters and drama beyond the realm of writer knowledge. While still limiting characters to the experience or curiousity of the writer in endowing them with certain characteristics, the actual stepping in of character reaction that decides the drama will offer the likelihood of something akin to mood. Example: Fred will react to a greeting in a particular manner if he leans in a certain direction when accompanied by his dog.
Looking at the possibilities opens up a whole new venture in writing and reading. Will Marquez today be Marquez tomorrow?
The Lost Children: A Charity Anthology