Worlds at our fingertips:reading (in) <i>What Remains of Edith Finch</i>

Video games are works of written code which portray worlds and characters in action and facilitate an aesthetic and interpretive experience. Beyond this similarity to literary works, some video games deploy various design strategies which blend gameplay and literary elements to explicitly foreground a hybrid literary/ludic experience. We identify three such strategies: engaging with literary structures, forms and techniques; deploying text in an aesthetic rather than a functional way; and intertextuality. This paper aims to analyse how these design strategies are deployed in What Remains of Edith Finch (Giant Sparrow, 2017) to support a hybrid readerly/playerly experience. We argue that this type of design is particularly suited for walking simulators because they support interpretive play (Upton, 2015) through slowness, ambiguity (Muscat et al., 2016; Pinchbeck 2012), narrative and aesthetic aspirations (Carbo-Mascarell, 2016). Understanding walking sims as literary games (Ensslin, 2014) can shift the emphasis from their lack of ‘traditional’ gameplay complexity and focus instead on the opportunities that they afford for hybrid storytelling and for weaving literature and gameplay in innovative and playful ways

People, Land, Arts, Culture and Engagement: Taking Stock of the Place Initiative

This report serves as a point of entry into creative placemaking as defined and supported by the Tucson Pima Arts Council's PLACE Initiative. To assess how and to what degree the PLACE projects were helping to transform communities, TPAC was asked by the Kresge Foundation to undertake a comprehensive evaluation. This involved discussion with stakeholders about support mechanisms, professional development, investment, and impact of the PLACE Initiative in Tucson, Arizona, and the Southwest regionally and the gathering of qualitative and quantitative data to develop indicators and method for evaluating the social impact of the arts in TPAC's grantmaking. The report documents one year of observations and research by the PLACE research team, outside researchers and reviewers, local and regional working groups, TPAC staff, and TPAC constituency. It considers data from the first four years of PLACE Initiative funding, including learning exchanges, focus groups, individual interviews, grantmaking, and all reporting. It is also informed by evaluation and assessment that occurred in the development of the PLACE Initiative, in particular, Maribel Alvarez's Two-Way Mirror: Ethnography as a Way to Assess Civic Impact of Arts-Based Engagement in Tucson, Arizona (2009), and Mark Stern and Susan Seifert's Documenting Civic Engagement: A Plan for the Tucson Pima Arts Council (2009). Both of these publications were supported by Animating Democracy, a program of Americans for the Arts, that promotes arts and culture as potent contributors to community, civic, and social change. Both publications describe how TPAC approaches evaluation strategies associated with social impact of the arts in Tucson and Pima County. This report outlines the local context and historical antecedents of the PLACE Initiative in the region with an emphasis on the concept of "belonging" as a primary characteristic of PLACE projects and policy. It describes PLACE projects as well as the role of TPAC in creating and facilitating the Initiative. Based on the collective understanding of the research team, impacts of the PLACE Initiative are organized into three main realms -- institutions, artists, and communities. These realms are further addressed in case studies from select grantees, whose narratives offer rich, detailed perspectives about PLACE projects in context, with all their successes, rewards, and challenges for artists, communities, and institutions. Lastly, the report offers preliminary research findings on PLACE by TPAC in collaboration with Dr. James Roebuck, codirector of the University of Arizona's ERAD (Evaluation Research and Development) Program

Increasing Retention and Knowledge Transfer Through Digital Storytelling and the Comics Medium: A Design Case

Asynchronous multimedia learning is a common form of delivering training in the workforce industry, and organizations rely on a completion status to measure that training. However, measuring retention and knowledge transfer of new material rarely occurs during asynchronous learning. Grounded in the Visual Language Theory (VLT) and a delivery modality of digital storytelling (DST) suggest that sequential images presented as a visual narrative have higher degrees of retention. Thus, knowledge transfer occurs when learners relate to the narrative and visual applications when engaging with a comics approach to learning. From 2019-2022 a story emerged to design and develop an asynchronous digital storytelling comic narrative about simulation obstetrics training for distribution to 700 nurses in Bihar, India. Chapter 1 introduces digital storytelling and the use of comics in medical education. Chapter 2 explores the literature around visual language theory, digital storytelling, and andragogy in comics. Chapter 3 investigates the initial design beginning in 2018 with the implementation study, to the Simulation Educator Training redesign in 2019. A thorough needs assessment introduces Chapter 4 with learner and context analysis, exposing communication barriers, culture representation, character development, and technology challenges. The initial deployment and subsequent feedback survey in late 2019 resulted in a major redesign beginning in 2020. The following two years resulted in ten comic episodes with shorter seat time, more in-depth explanations of abstract concepts, and interactive scenarios to practice real-world situations. Chapter 5 concludes with lessons learned, opportunities, and closing with the results of a final study conducted in late 2021 and published in February 2022 in the International Journal of Environmental Research and Public Health, resulting in an 86% increase in retention

Avatars Going Mainstream: Typology of Tropes in Avatar-Based Storytelling Practices

Due to the growing popularity of video games, gaming itself has become a shared experience among media audiences worldwide. The phenomenon of avatar-based games has led to the emergence of new storytelling practices. The paper proposes a typology of tropes in these avatar-based narratives focusing on non-game case studies. Suggested tropes are also confronted with the latest research on avatars in the area of game studies and current knowledge of the issues concerning the player-avatar relationship. Some of the most popular misconceptions regarding the gameplay experience and its representation in non-game media are exposed as a result of this analysis. The research confirms that popular culture perceives gaming experience as closely related to the player identity, as the latter inspires new genres of non-game narratives

Building Social Change Through Interactive Webcomics

Comic books are a popular form of creative storytelling. Through sequential juxtaposed panels, comics have the unique ability to interact with the reader through time and space. The context within comics is the constrained amount of panels a typical comic book page allows, and the space that exists between the panels encourages the reader to manipulate meaning. Through this unique process of interaction between the narrative and the reader, comics have proven to be a creative medium to promote meanings of social change. Throughout history, comics have utilized their entertaining guise to mask underlying themes of social injustices and political upheavals. More so, through the use of the technological advances and the Internet, Webcomics now have the ability to provide an interactive experience that encourages reader engagement within the narrative, while expanding widespread communication. This project seeks to understand how interactive Webcomics can promote social change. This research project consists of a self-created interactive Webcomic involving a fictional narrative that depicts the dangers of hydraulic fracking; the comic is intended to promote social change and awareness on the issues of fracking. A focus group has been conducted in order to better understand the effects the comic has on participants knowledge, awareness and advocacy on the dangers of hydraulic fracking. The concluding results show that Webcomics do have the potential to promote social change

Co-producing composite storytelling comics : (counter) narratives by academics of working-class heritage

This work was supported by the Society for Research into Higher Education, (grant number Davis NR2129).Composite storytelling as a social qualitative research method represents a growing spirit of creativity to explore themes of social injustice. This article discusses the potential methodological affordances and challenges of such approaches when used to collectively unsettle, interrogate and (re)imagine what it means to become an academic of working-class heritage. The participatory project discussed in this paper involved eight social science and humanities academics in UK-based elite higher education institutions. In a series of storytelling sessions, the participants created narrative encounters to foster moments of critique and analysis to explore the complex social realities of their routes into and through academia as people of working-class origins. Working alongside an illustrator, the participants used empirical insights to create composite stories in multimodal comic formats. Through this work, we seek to prompt further discussions about the generative possibilities of pursuing similar methods in the social sciences and beyond to challenge forms of social injustice.Peer reviewe

Generative comics: a character evolution approach for creating fictional comics

Comics can be a suitable form of representation for generative narrative. This paper provides an argument for this based on an analysis of properties of the comics medium, and describes a tool for character design and comic strip creation that applies interactive evolution methods to characters in a virtual environment. The system is used to interactively create artificial characters with extreme personality traits inspired by well-known comics characters