Top 10

1. I wish there had been more feedback in the beginning. Even sentence long comments on blog posts would  have sufficed. 

2. This class actually wasn't what I was expecting, but it turned out to be a really interesting exploration of multimedia writing. 

3. Books: either fewer, or more frequent use of them. 

4. The flexibility of the syllabus was very refreshing. Throughout the semester, it was tailored to where the class was headed. In the end I think the changes were beneficial. 

5.  Clarity about blogs in the beginning- I think a lot of people struggled with balancing multiple blogs. For example, some didn't know where to write in first person, and didn't know where to post different assignments. In a few cases these introductory issues have followed them all the way to the conclusion of the class, so it would have been nice to have further explanation before even creating the blogs. 

6.  I think separating the class into groups was a smart move, and made it much easier to manage. This also allowed for the whole group work experience- eg. managing meetings, consistency, etc. 

7. InDesign training was stressful. I wish a little bit more time was devoted to this section of the course. 

8. The April 5th presentations were probably the coolest thing I've done for a class all semester. Great, great idea. 

9. Working with the CAC class was perhaps unnecessary. We were never really clear on their goals for their class, neither were they on ours, so the collaboration didn't go smoothly and ended up being fruitless.  

10. Overall, interesting course! A nice break from standard English/ Writing classes. 

Managing Multiplicity in Superhero Comics: An Interview with Henry Jenkins

Henry Jenkins is a media scholar who uses what interests him most- comic books, mass media, and trans-media narrative- to inform his opinion on where entertainment is headed, and in turn where our intellectual development is headed. In this interview he focuses largely on comic books. He discusses several points of concern for large comic producers like DC and Marvel,  how more off-beat comic writers draw inspiration from the original comic book narratives, and conventions of the genre itself. 

When asked what kind of influence comic books have had on his work, Jenkins replies by asserting that he was a fan before he was a scholar. This facet of his knowledge allows him a certain amount of authority over it- because comics have had a direct effect on him, and the phenomenon isn't just observed. One of DC and Marvel comics greatest issues actually is readers like Henry Jenkins, who've been reading the same stories for decades, and have gotten as accustomed to superheroes and their specific characteristics/ narratives as the creators themselves. 

The issue becomes as such because in terms of characters like Superman, Batman, Spiderman, and other classics, their narratives have gone on so long that there is an inevitable point where the characters need to evolve drastically to allow for fresh developments. The is the task of "managing multiplicity." These long-term readers expect development; they expect to be engaged, but what they don't always appreciate is when these hyper-familiar characters are re-appropriated with new appearances, and in new worlds. 

 

When this kind of character dislocation does happen, it's important that it's obvious. Jenkins uses examples in his interview of how some writers have successfully combined two comic book worlds, and made a fusion which serves to further explore a character.  The Elseworlds series was designed specifically for readers who wish to embrace this type of fusion, and creates stories such as Superman's Metropolis in which Superman is a character seen through the lens of German expressionism. Other titles include Gotham by Gaslight, where Batman lives in a Victorian era with similar characteristics to the world of Sherlock Holmes, and Evil's Might, which "uses the Green Lantern to explore the Irish immigrant experience during the period depicted in The Gangs of New York."

Questions for the Class: 

1. Do you think there's a certain level of fame/ status a fictional character has to achieve before they can start being reinterpreted in their own stories? If not, how do you think the audience rationalizes this, and could branching out too soon (for the sake of continuing the plot) possibly disengage the audience. 

2. All of our groups for class have end-games, but if we were to continue would you consider using comic books as a medium to tell your story? Why or why not. 

3. At the end of this essay, they discuss how Manga has become a trend in the comic book world that vastly surpasses US comics in sales. This is something I've also noticed, but never fully understood. Any ideas on why this may be? 

4. A final provocative question from the text: "How do generations of creative teams struggle with maintaining interest in these characters over time, and respecting and acknowledging the long histories of these characters while adding their own creative direction?" 

If you're interested in Jenkins, please watch this video in which he speaks about the emergence of digital media, it's significance in the lives of young people,  and how it's often misunderstood in the public school system. 

What Do I Need to Write?

The biggest issue I've grappled with so far is defining Tim in his specific interactions with the group. I've established that he's very involved/ invested in the group, but I need to write about concrete interactions with other members during MAPI excursions.

In terms of media I'd really like to make another video, but I also need to include pictures (something I've talked about but never gotten around to.) 

The dates on Tim's blog have been tricky because his entire blog from mars needs to show up after the group's conclusion. My problem is, the posts need to be visible to be graded, and if i change the dates to May, they won't reappear until then. 

In terms of interactions with the CAC members, I'll ask for their advise and aid when it comes to an artistic element in my blog. Perhaps I could provide them with a sketch and the could edit with photoshop, or help me enhance my visual elements in some other way. 

A potential plan would be hanging up flyers on student bulletin boards for people to find out blog and follow our narrative. 

Posting more frequently on Tim's blog, providing facts and hints about his personality, and solidifying his relationship to each of MAPI's members will be the most significant enhancements moving on. 

Character Video

Further Character Development

My character, Tim, so far has established his location and how he got there. I think what's sorely lacking is a personality- interests, quirks, etc. The next step will be incorporating the group blog (MAPI) into his identity, but I'm still not sure if I should frame his involvement with the group as an event that happened in the past or reveal that it's happening currently, but he just thinks he's on Mars.

What's simpler to write about in developing his personality is his personal interests. The paranormal will obviously be on the list, but I want to think about what kind of literature he likes. At the moment I'm leaning toward authors such as jack london and ernest hemingway, and possibly a few field guides.

His interest in the Paranormal was sparked by his determination to seek truth beyond what is taught. His search for paranormal activity is much like his search for species of plants in the woods. He wants to someday write a book/ guide of his experiences with the paranormal to inform the public.

Summary of goals:
- Establish character interests
- Solidify involvement with MAPI
- Start creating creating character experiences in his environment

Production- Top 10 Tips

1. Budgeting doesn't just refer to money. Although creating transmedia narratives can break the bank, another thing to consider is the amount of time you spend in addition to the amount of money. You can utilize preexisting resources- if you already have a computer, if your school has photoshop, if you can rent a camera- but don't forget to manage your time.

2.Choose a good team. Stories like these have lots of moving parts, so it's good to have people on your team with specializations. A skilled team can change the outcome of a project, because they can improve the quality of what they know best. In our class, we weren't able to choose our groups. However, we could still probably discuss what we're each most comfortable with.

3. Speaking of teams, the book says "don't go rogue." The easiest way to turn your team against you is acting without okaying it with them. Be ambitious, certainly... but to maintain consistency make sure everyone knows where you're going.

4. Avoid social media when creating a fictional character... especially a poorly mannered one. Most social sights (facebook especially) has serious rules prohibiting the creation of false profiles, as they should.

5. Utilize even the most basic mediums- "email and phone." Having player/follower email addresses will allow you to reach them and give them updates- even when they're not playing. You can reach a large amount of people at once, will minimal effort and zero funds. Also consider free vs. hosted email. If this group gets a following at all, that's something good to keep in mind.

6. Video- complicated, expensive, but leaves the most significant impression. Videos are often pre-recorded because they take so much work, but can really enhance your narrative. We've wanted to do something like this, but we might have second thoughts after hearing how complicated it can get.

7. How to bring the story into the real world. The funny thing about multi media is, it goes beyond just media. ultimately, our group is going to have real world connections in our story.

8. Related to real world connections- planting physical artifacts can create a more real experience. you can use them as motivation, or to create a treasure hunt or other story to try and find them.

9. "telephony-" using the telephone to create a more intimate experience. using an automated system can give a player/follower a good experience in the game, or putting them on the line with a live person can make them feel like they're not even in a game.

10. Basically, use technology both you and your audience can handle. Don't jump into relying on new technologies if you don't know them well enough or don't know their reliability. Chances are if you're not comfortable working in a medium, neither is your audience.

Fictional Story/ Character Development

Reading: A Creator's Guide to Transmedia Storytelling Ch. 11-16


Prompt: What principles of story telling can you take from CGTS and apply to your story/ character? Be explicit: quote the passages from the book, explain them in your own words, and describe how you will apply them directly to your work.

One passage from the book that I found particularly helpful was at the very beginning of Ch. 12, and explained the importance of story bibles. This kind of index is crucial to maintaining integrity and consistency in a character or story. I'd like to start tracking the information about my character- including his personality, what he likes/ dislikes, his background story, etc. It will also be good to keep a log of his experiences, or at least the ones he posts about, so that I can make each post different and evolve my character.

Something else that will help me in developing my character is using interactive mediums. The one we used recently in class was a map, which already gives the fictional character an anchor in the real world. Something I'd really like to do is create a video or photograph and edit it to fit his perceived environment. Even if it's just a shot of a desert, it will add dimension to the site and the character.

On pg. 125 Phillips talks about rewarding effort. This means that when you involve an audience, it's your responsibility to engage them, rather than wasting their time. I hope to develop my character into someone who can engage an audience, but following through is something I definitely need to work on. At the moment my character's "twist" is that he's schizophrenic, but many audience members may have realized this already- considering he's blogging from Mars.

I think by further developing my character's story I'll be able to engage an audience with the story, but I'll need to really work on making Tim an authentic character, and developing an interactive experience that's sourced from the blog.

The Constructive Potential of Video Games

The Assignment:
Read McGonigal Ch. 7-10

In these chapters a very intriguing discussion is had. We as a general public have fallen into the assumption that video games are destructive in nature, perhaps because of the misuse of them and their tendency to be a commonly blamed "distraction" for kids. However in doing this we neglect to see their potential for enhancing our personal happiness, academic systems, and social lives.
This is the argument McGonigal makes in these chapters. She gives numerous examples of how video games, or more specifically alternate reality games (ARG's) can provide stimulation that operates on multiple platforms. I agree with her that technology like ARG's can be programmed as an instructional, or motivational aide.

1. Life improvements aided by alternate reality games

• The first example McGonigal gives, which demonstrates the very clear conversion of digital based participation with real world participation, is "Chore Wars." This program is described by the creator to "...inspire everyone to do more housework, more cheerfully, than they would otherwise." 
• The intent here was to re-contextualize house work as a means of "leveling up." Like the work usually done within a video game, e.g. dodging threats, solving mazes, etc., housework becomes another feat of the mind, only this time you can still see the results when you finish the game. 
• By incorporating a task like housework into the game, the creator not only gives the player a reward, but makes an unpleasant task genuinely rewarding. 

2. Alternate reality games are based in reality

• Far from what some people would think, ARG's aren't played by lonely soles in the basement of their mother's house. Rather, they're played in the real world. In some games, for example the one McGonigal used where players look out for "lovers" and "dancers," a players location can be tracked with a mobile or other electronic device. 
• This dynamic environment gives the player an experience unmatched by any other game. Curiosity and  excitement become realized when participants know another player is in the area, perhaps close, very close! Too close! And then they either get demoted or brought up a level. 

3. Lasting results: "happiness hacking"

• Video game psychology is much like that of medical psychology. It is intended to give you the skills, even if those skills are simple things like dancing more often, to be happy and get the most out of your life. 
• While ARG's may "trick" the players into doing things intended to be beneficial for the player, it's almost a foolproof bet that the player can only benefit from the action/ task, and that the "trick" won't go awry. 
• This type of "hacking" is not the computer hacking you might be thinking of. Instead it's a type of hacking that utilizes technology to work with the mind and improve happiness. In the words of McGonigal, "Finally, there's a self-help problem that isn't unique to the science of happiness: it's easier to change minds than to change behaviors." 

 

Creating a Fictional Character

Prompt: Who is this fictional Character?
What Questions do you have about the assignment?

My fictional character, which will be created using the blog Life on Mars, is built with the intention of making the audience question the identity behind the character.
The character's basic traits are that he's

1. A 35 year old man
2. Living on Mars, believes he lives on Mars, or is creating an apocalyptic scenario in which one day he will need to live on Mars- This will be up to the audience.
3. Tracking daily challenges/ experiences on this blog.

My questions about the assignment are- what's the endgame here? or will that be revealed at the conclusion.

Anonymity

In response to these articles on the hacker group "Anonymous" 

Anonymous 101: Introduction to the Lulz

Anonymous 101 Part Deux: Morals Triumph Over Lulz

2011: The Year Anonymous Took On Cops, Dictators and Existential Dread

People seem to have a hard time defining Anonymous, and this may be beneficial to the group. Because the public is never sure how extreme they are, Anonymous maintains their shock factor- an effect responsible for their high publicity. 

I won't try and pinpoint their endgame, but there seem to be some transcendent characteristics here.  First, Anonymous is not malicious at the core. While they do aim to deface their targets, their actions seem to be driven by a dedication to upholding morals. Much like a police force, they act as a digital police. Although they go to extreme measures to humiliate their targets, it could be easily argued that their actions are appropriate. 

Public shaming is how Anonymous breaks down their target. 

It is not with physical incarceration that they sentence, but through mental "motherfuckery." 

Be not mistaken however, Anonymous does not masquerade as (get it) "your personal army." (149) They're devoted to their standards, and theirs alone. These which include freedom of information, basic human decency, and to put it simply, power of the people. 

Anonymous' massive presence makes me question the very premise of anonymity online. 

Ironically, this group or pseudo group is made up of anonymous individuals, which together has created a distinctive if not perplexing persona. The fact that Anonymous' anonymity (forgive me) is what gives them power, speaks to the potential of individuals with false identities. 

It's absolutely true that dishonesty online is possible, and Anonymous seems to abhor this behavior. However, an "organization" with undeniable social influence, media presence, and effective intimidation tactics, which is somehow still anonymous in terms of its inner workings, seems to me like the poster child of fabrication.  

Perhaps the question is: when is anonymity appropriate? As previously stated, I do not think Anonymous has malicious intent. Unfortunately, many anonymous persons do. 

Anonymity, when regarding personal information, is possible for individuals and groups. Anonymous has maintained a presence that is singular rather than divided, besides a few members that were exposed. Their specific anonymity is important because they aim to drive things forward, and expose those they deem worthy.  It's important that the power accompanying anonymity is not overstepped, but that as we've seen is not always the case. 

Who I am online

I try to keep my online persona as honest as possible. Through websites such as facebook, tumblr, and gmail, I organize my life, interests, and pursuits. These online mediums are helpful in maintaining a digital and social presence, and often lead to real- world results.

My presence online allows me to present a cumulative image that is accurate to myself; one that would not be obvious or immediately palpable in person. I do consider facebook to be an area that is casual and social, but am not operating under the delusion that potential employers won't look to that for a profile. 

Probably the most frequent use of online sites is geared towards my interests and personal life, while the remaining effort is given to professional pursuits.