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One of the greatest challenges in transmedia game development is crafting a believable story universe that persists across multiple media without tricking or endangering the game’s players. In her SXSW presentation on the ethics of transmedia storytelling, Andrea Phillips recounted a number of cautionary tales from the genre’s history in order to illuminate best practices in transmedia production. By Brandie Minchew, ARGNet <img src="http://www.wired.com/images_blogs/magazine/2011/03/andrea-e1301368875115.jpg" alt="" title="andrea" width="250" height="278" class="alignright size-full wp-image-44131" /> Andrea Phillips has excellent qualifications to talk about ethics in transmedia.
The purpose of this essay is threefold. One of my aims is to sketch out some of the implications of recent work in cognitive science for narrative theory. A second aim is to consider how, inversely, current modes of narrative-theoretical inquiry bear on the field of cognitive science. To be sure, the sheer scope and complexity of the issues involved would make it difficult to accomplish either of the two goals just mentioned, let alone both of them concurrently. Yet-and here I come to my third overall aim-The MIT Encyclopedia of the Cognitive Sciences, published in both a book and CD-ROM format in 1999, provides an indispensable guide in this context. (The page citations contained in this essay refer to the book version of the Encyclopedia.
Return to Contents » Abstract: This essay argues for an analysis of the narrative models of postmodern cinema by looking at them as visualization forms re-mediated (Bolter and Grusin 1999) by new media's formal structures. Instead of being organized in a classical way through causal and temporal logics, contemporary storytelling models seem to be structured according to "casual," "catalogue" and "homogeneous" aggregative logics following the "database" and "navigable space" visual forms of new media (Manovich 2001). The conventional "narrative" paradigm (Metz 1974; Branigan 1992, Jullier 1997) in postmodern film seems to be fully "fragmented," following textual organization models similar to computer logic and aesthetics. This essay aims to classify these new models as "database forms" (aggregation of events, by "accumulation," or "catalogue"), and "navigable space forms" (aggregation of events by "loop/repetition," "hyperlinking" or the "network" of stories).