New narratives explores the relationship between digital technologies and narrative, and contributes to the field of digital narratology. The book consists of fourteen chapters divided into three parts: Part 1, “New foundations,” focuses on the theoretical framework for the study of digital narrative, Part 2, “New architectures,” discusses the design and operation of digital narratives, and Part 3, “New practices,” explores the various uses of digital narratives.
In Part 1, Daniel Punday argues for the commonalities between traditional and new media narratives, and examines how multimedia texts use technology to develop the nineteenth-century artistic principle of synesthesia, which encourages the blurring of boundaries among different senses. Marie-Laure Ryan compares approaches to interactivity by those who argue that it enhances the storytelling experience and those who propose that it limits narrative potential. Ryan likens the digital text to an onion, with interactivity influencing different layers, and suggests that “optimists” explore interactivity on the outer layers, the presentation of the story, while “pessimists” explore the inner layers, the narrative structure itself. Alice Bell uses Possible Worlds Theory to examine the shift of digital narratives from chronology (time elements), which Bell associates with traditional narratives, to ontology (identity elements). Michael Joyce's contribution questions notions of transparency in both traditional and digital narratives.
In Part 2, Nick Montfort describes Curveship, a system that enhances interactivity by allowing separate control of the content modules and the expression modules of a digital narrative. Andrew Salway & David Herman consider two case studies to show how computer-assisted text analysis can lead to revisions of narrative theory. Astrid Enslin's paper focuses on the crime story The Breathing Wall to explore the links between intentionality and corporeality. Enslin examines how readers must use their breathing to engage physically with this story, thereby re-affirming the phenomenological link between intentionality and embodiment. Brian Greenspan describes “Storytrek,” a prototype system developed at Carleton University's Hypertext and Hypermedia Lab. Using GPS technology and inspired by Australian aboriginal mythic practices, Storytrek integrates geographical data with narrative elements, providing the users with stories related to their location. Paul Cobley & Nick Haefner discuss the role of DVDs in influencing concepts of narrative. They argue that interacting with DVD technology affects the perception of narrative structure and leads to redefining “text.”
In Part 3, Scott Rettberg's essay considers the practice of collaborative writing and traces its development in the digital media, highlighting the freedoms and constraints of the medium. Bronwen Thomas explores the phenomenon of fanfiction—the writing by fans about cultural and media products. Focusing on Harry Potter fanfiction, she argues that the blogging element of this writing frames narrative as a participatory practice. Ruth Page continues the exploration of blogs as narrative, focusing on gender aspects of blogging about cancer. James Newman & Iain Simons's paper examines intertextuality and transmediality through the Star Wars videogame. Finally, Heather Lotherington discusses the uses of digital technology in elementary school storytelling.
