While all participatory fiction is by nature interactive, interactive fiction is not inherently participatory; the distinction of audience versus author or production might be blurred but still distinct
BEFORE THE YELLOW STAIRCASE CRCP PROGRAM -- i thought I wanted to be a curator, i love facilitating and community building, and organizing, but it pulled me away from storytelling
My first co-created work in collaboration with curating partner Patrick Phillips and the entire school Around this time, late 2006? → copyleft which is now the creative commons was barely a new thing I was fascinated by both doodles, and drawing book sketches and the collapse of authorial intent So we came up with what was somewhat a radical idea for 2006: HOW ARE WE GOING TO GET PEOPLE TO PARTICIPATE?
My aunt owns a shoe store, which I worked at as a kid, one day she came into the store and started tossing all the shoes off displays into a pile…. WHAT ARE YOU DOING? …she says “Watch this”…moments later the store was filled with women digging through the piles. NOTE: activity breeds activity
another concern by the OCAD administration: what if it’s shit? How could we ensure it wasn’t going to be crappySETTING THE BAR
10 days -- ten teams, staggered in different shifts each day -- THESE ARE CALLED SHILLS
a little story about Frank Sinatra – first concerts girls were paid to faint (the shills);
which is precisely why in gaming there is freemium models – people pay for free becoming the attractor for people willing to pay (the whales)
what if it spills out into the hallways? WHAT IF IT TAKES OVER THE SCHOOLcontainment –each day removed another panelMOVING THE GOAL POSTS
TELESCOPIC MODEL -- Participation starts small and grows like a snowball
TEAM NAMES -- GAMIFY, SPIRIT OF OUTDOING ONE ANOTHER, COMPETITIVE SPIRIT
the other concern was moderation -- keeping within policy of behavior of the school – moderation only based on school policyall else
reactive, community self regulated – since it was participatory anyone could alter anything they found offensiveYOU MUST THINK EVERY SCENARIO THROUGH FIRST BEFORE COMMUNICATING RULES: people do not respond well once you suddenly change the rules cause you havent thought this through
Everyday: the dood was documented and posted online with e-newsblasts to the teams to share with their friends: 100’s of photos daily by the end
having 32 artists as key participants meant there was built in marketing word of mouth
half-way both student and faculty not originally part of teams are now contributing 100s of doodles
implicit rules: the tubs of pencils/crayons served as a call to action – since it was only pencil/pencil crayons in the tub provided people followed suit and didn’t feel the need to bring additional materials in that could be destructive/permanent
BRANDED CONTENT – Curry’s was our sponsor and supplied materials
CALL TO ACTION
Clean up and strike-- memoralize, closing parting, ceremonial
So the Dood show was a co-created participatory work: but it was not a shared storyworld because it lacked the fundamental ingredient: narrative
2008Keep in mind: during this time Facebook, twitter and youtube were all new. Social media was like barely a phrase…. during the Dood show we documented on LivejournalEarly examples of participatory fiction on twitter:
A branching narrative where the reader/audience wayfinds their way through the
narrative by making a series of choices
Choose Your Own Adventure Books
Zork (Interactive Fiction)
Sleep No More (Theatre)
Video Games: Glitchhikers
The Dood Show
It all starts with a blank page…
or in this case a blank wall
The Sandbox Model
What are the constraints? (physical, temporal, organizational, bureaucratic. legal)
How are you going to encourage participation?
How can you lead participation?
What are the rules? (what are the rules of your world/experience)
Enforcing the rules? Community moderation?
Have you thought of everything?
Have you REALLY thought of everything?
Worst case scenarios?
Logistics: i.e. How are you paying for this?
Storyworld Building: Welcome to
“Because it’s an on-demand thing, you can do stuff that requires people to listen to
everything you’ve done up to this point,” explains Fink. “You can do a lot of stuff
that demands more of an audience, in terms of making references without having
to explain them — if they want to go back and figure it out, that’s on them. You can
also do structural stuff — we had one story that was told from two perspectives,
which you can do when you can release episodes at the same time.”
The Karada & Clockwork Watch
This tumblr Post
DANGER WILL ROBINSON
You have legal responsibilities for your immersive works:
Do not put people in danger
Do not be careless or negligent about people’s welfare
Do not break the law (including bylaws and OCAD’s code of conduct)
Have necessary permits
Do not hoax
Do not be careless with your “fiction”