Preliminary Exams Rationale

The following is the first version of my Preliminary Exam Rationale, including: the major area of transmedia narratives, production, and aesthetics; a minor area on ergodic and nonlinear literature; a minor area on ludology and simulation.

Jay Johnson
Preliminary Exam Rationale
Plan C
Fall 2011

My major area of focus is on the production, aesthetics, and analysis of transmedia narratives, with a specific focus on Alternate Reality Games (ARGs). In Henry Jenkins’s Convergence Culture, he explores transmedia storytelling–“entertainment for the age of media convergence, integrating multiple texts to create a narrative so large that it cannot be contained within a single medium”–in terms of the eponymous media convergence, which “represents a cultural shift as consumers are encouraged to seek out new information and make connections amongst dispersed media content” (97, 3). Therefore, in order to explore transmedia, my foci will concentrate on media studies, with a specific focus on “new media” aesthetics and production, as well as transmedia narratives and traditional narratives that explore the notion of “alternate reality.” Some of these texts include: Lev Manovich’s The Language of New Media, Waldrip-Fruin and Montfort’s New Media Reader, and Mitchell and Hansen’s Critical Terms for Media Studies for media studies; texts, message boards, and other paratexts from ARGs, such as The Beast, I Love Bees, The Lost Experience, Year Zero, and Push, Nevada; narratives that represent “alternate realities” of a dystopian, science fictional, and magical realist variety, such as the works of Borges, Dick’s Do Androids Dream of Electric Sheep? and VALIS trilogy, Robinson’s The Wild Shore, Chesterton’s The Club of Queer Trades, and Link’s Magic for Beginners.

Complicit with Jenkins’s understanding of transmedia narrative–and perhaps new media, at large–is the engaged reader/viewer, or, in Jenkins’s words, “participants who interact with each other according to a new set of rules that none of us fully understands” (3). As such, I’m interested in exploring the boundary between reader and author as found in metafiction, an area with which my own creative work often intersects. I’m also interested in exploring the breakdown of this boundary as a print medium example of the superimposition of the virtual and the non-virtual (or “real”) in order to create a different (or “alternate”) experience of reality, what Virilio refers to in Information Bomb as a “field effect” view of reality that is a result of the collapse of time and distance facilitated by light-speed digital networked communication technology (43). Texts that explore this metafictional boundary include many short works of Borges, Fernandez’s The Museum of Eterna’s Novel (The First Good Novel), and Marias’s All Souls and Dark Back of Time.

My first minor area, ergodic literature, is both an extension of my interest in transmedia narrative as well as a reflection of the desire in my own creative work to incorporate a more active, participatory reader. In Cybertext: Perspectives on Ergodic Literature, Espen Aarseth defines ergodic literature as a form which requires the reader to “[effectuate] a semiotic sequence,” or order the text in a nontrivial, self-selected manner. This active role for the reader can also be seen in what Manovich describes as the “database logic” of new media, which requires a reader to sort narrative elements, much like players in ARGs sort narrative clues in to a narrative. Some representative examples I will explore include both non-electronic ergodic literature, such as Cortazar’s Hopscotch and Nabokov’s Pale Fire, and the electronic, including Joyce’s afternoon and Jackson’s Patchwork Girl.

My remaining minor area of interest is ludology and simulation, which is, again, related to my main interest in transmedia. The theoretical intersection of ludology and narratology is a turbulent space, as evidenced in Waldrip-Fruin and Harrigan’s First Person. Transmedia narratives that incorporate video games, such as Star Wars or The Matrix, blur this boundary; moreover, ARGs are definitionally positioned as games, yet are frequently presented as transmedia stories, as they lack the interface of the screen and controller and purposely confuse gamespace with “real,” everyday spaces. Similarly, Aarseth asserts, in “Nonlinearity and Literary Theory,” that “simulations are somewhere in between reality and fiction” (79). I will explore this transliminal space between reality and fiction in terms of “alternate realities” and as a dominant form of representation in post-modernity, through the visual representation of computational and dynamic rules. Some texts that will be applicable to this area include Margaret Atwood’s novel Oryx & Crake, the films Run Lola Run and The War Game, the reality television show The Colony, and the critical texts The Order of Things, by Michel Foucault, and Suspensions of Perception, by Jonathan Crary.

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