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How the Surprise Interactive 'Black Mirror' Came Together | WIRED
The episode Brooker and Jones kicked back to Netflix wasn't a script in any conventional sense of the word: It was essentially a vast, sprawling outline written in the videogame programming language Twine, which Brooker had taught himself because it was the only way to capture the intra-linked complexity of all the various tributaries and recursions of the Bandersnatch story. "Every time I had an idea I put it in a box, and you can move them around. It's a bit like making a giant patchwork quilt," he says.

Not that it was without its hiccups. "It's the only thing I've ever worked on where the story treatment crashed," Brooker says. But through a combination of Twine, Scrivener, Final Draft, and what he calls "various iterations of Notepad," they finally got everything hashed out. And from then on, it wasn't all that different from creating a typical Black Mirror installment—other than costing twice as much and taking twice as long to produce.
interactivity  ergodic  blackmirror  netflix  tvic  twine 
january 2019 by paulbradshaw
BBC Taster - The Unfortunates
Imagine if you could listen to a drama again and again, and every time time the story changes, giving you millions of different versions. Use your voice to shape what you hear in this 1960s avant-garde story created for smart speakers and starring Martin Freeman. 2 ratings 0 shares
voice  bbc  interactive  ergodic  drama 
november 2018 by paulbradshaw
Immersive adaption of The Unfortunates
In this audio adaption for smart speakers, the story is presented in 17 sections which are shuffled into a new order with every listen – as with Johnson’s book, only the first and final sections remain in the same place. The narrative changes with every listen, with the technology giving rise to millions of possible permutations of the story in a new audio experience. It’s an extension of the original Radio 3 broadcast, where the order of the sections were selected by using ping-pong balls live on air and only this version went to air.


There are more options available for listeners using the latest smart speaker technology, who can control ‘The Unfortunates’ using spoken commands to shape their experience. There’s also the opportunity to delve deeper and hear extra programmes about 1960s experimental literature, or to go ‘behind the scenes’ with BBC R&D technologist Henry Cooke, R&D producer Nicky Birch and BBC Radio 3 writer Graham White to hear how this version was created.
voice  bbc  ergodic  interactive 
november 2018 by paulbradshaw
Ergodic Literature
Ergodic literature is a term coined by Espen J. Aarseth in his book Cybertext—Perspectives on Ergodic Literature, and is derived from the Greek words ergon, meaning "work", and hodos, meaning "path". Aarseth's book contains the most commonly cited definition:

In ergodic literature, nontrivial effort is required to allow the reader to traverse the text. If ergodic literature is to make sense as a concept, there must also be nonergodic literature, where the effort to traverse the text is trivial, with no extranoematic responsibilities placed on the reader except (for example) eye movement and the periodic or arbitrary turning of pages.One of the major innovations of the concept of ergodic literature is that it is not medium-specific. New media researchers have tended to focus on the medium of the text, stressing that it is for instance paper-based or electronic. Aarseth broke with this basic assumption that the medium was the most important distinction, and argued that the mechanics of texts need not be medium-specific. Ergodic literature is not defined by medium, but by the way in which the text functions. Thus, both paper-based and electronic texts can be ergodic: "The ergodic work of art is one that in a material sense includes the rules for its own use, a work that has certain requirements built in that automatically distinguishes between successful and unsuccessful users."
Ergodic  Books  Literature  Book-binding  Typography  Language  Narrative  Narratology  Storytelling 
september 2017 by dbourn

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