Journal Articles
Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915
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Item Friendship isn’t an emotion fucknuts: Manipulating affective materiality to shape the experience of Homestuck’s story(SAGE Publications, 20/06/2017) Veale KRHomestuck is a textual and experiential chameleon that manipulates its own structure to shape the audience’s affective experience of the story by mimicking not just the storytelling techniques of other media forms, but their modes of engagement as well. This article introduces terminology to illustrate how and why the online serial Homestuck qualifies as a distinctive form of storytelling. I introduce the term transmodal engagement to illustrate how Homestuck uses the affective, experiential affordances of different media forms to sculpt and shape the experience of the text in completely different ways to ‘transmedia’ storytelling. The second term this article introduces is metamedia storytelling, which describes how the audience’s familiarity with storytelling across multiple media forms can be used to manipulate their experience of fiction. Homestuck deploys metamedia storytelling to continually destabilise the reader’s understanding of the text and their investments in the storyworld by forcing re-evaluations of not just what is happening, but what kind of mediated relationship the readers have with the content of the story.Item Interactive cinema is an oxymoron, but may not always be(Game Studies, 30/09/2012) Veale KR"Interactive Cinema" is a term that has been associated with videogames within historical media discourse, particularly since the early nineties due to the proliferation of CD-ROM technology. It is also a fundamental misnomer, since the processes of experiential engagement presented by the textual structures of videogames and cinema are mutually exclusive. The experience of cinematic texts is defined, in part, by the audience's lack of ability to alter events unfolding within the film's diegesis. In comparison, the experience of videogames is tied inextricably to the player's investment and involvement within the game's textual diegesis, and within a Heideggerian world-of-concern. However, there has been a recent development that suggests a bridge between these two structures: texts which are less defined by their ludic qualities than by a set structure - but where the affective qualities of the experience rely entirely on the direct involvement of the person engaging with the text. These are a storytelling form which are neither "played" or "watched," and it may be that "interactive cinema" is an appropriate way of conceptualising these experiences.
