Novidades e possibilidades do

storytelling digital
Thales Estefani

Maio/2016
Sumário

1. Storytelling
1.1. Evolução, Cognição e Ficção
1.2. Livro como Artefato Cognitivo
2. A revolução digital
2.1 Novos artefatos cognitivos e
padrões de consumo
3. Novidades e possibilidades
1. Storytelling

• Transmissão de eventos através de

palavras, sons e/ou imagens
• Histórias ou narrativas têm sido
partilhadas em cada cultura como meio
de entretenimento, educação,
preservação cultural, para incutir valores
morais, etc
• O termo ‘storytelling’ é usado em um
sentido restrito para se referir
especificamente à narrativa oral e
também em um sentido mais amplo para
se referir a técnicas usadas em outros
meios para revelar ou expor a narrativa
de uma história
1.1. Evolução, Cognição e Ficção

• Brian Boyd, On the origin of stories

• Abordagem evolucionária (darwiniana)
da ficção: “abordagem biocultural”
• Imaginação (atividade da mente),
distante da necessidade biológica: Jogo
(de onde a ficção e outras formas de arte
teriam evoluído no homem)
• Brincadeira com bolhas dos golfinhos
(design sem representação)
• Brincadeira de imitação ou pintura dos
primatas (parece não ser natural nem
gerar engajamento)
• Capacidade singular da nossa espécie de
compartilhar atenção
1.1. Evolução, Cognição e Ficção

• Pinturas rupestres: aqueles que as

fizeram sabiam que estavam
desenhando, e desenhando animais, e
fazendo isso com certa habilidade, e que
sem o senso de semelhança, atingir
algum significado seria impossível (Arte)
• Locais de difícil acesso: preservação
• Capacidade para metarrepresentação
• O impulso para nos engajar em e
responder à arte existe através das
culturas humanas e se desenvolve em
todas as crianças normais. E isso depende
da capacidade daqueles o redor de nós
para entender o que temos feito, mesmo
quando estamos ausentes ou idealizamos
algo completamente novo
1.2. Livro como Artefato
Cognitivo
• A escrita é muito mais recente que a
pintura rupestre, mas o storytelling
ficcional é bem mais velho, como vimos
• O livro, tal qual a parede da caverna, é
um “local de preservação” de uma forma
de representação, mas ambos guardam
características próprias no que diz
respeito ao storytelling
• Assim como na comparação caverna e
livro, é preciso considerar pontos de
análise particulares ligados às diferenças
materiais e de interação entre livro
impresso e digital
1.2. Livro como Artefato
Cognitivo
• Cognição Distribuída busca por uma
classe mais ampla de eventos cognitivos
e não espera que todos eles estejam
envolvidos pela pele ou crânio de um
indivíduo [Hutchins, 2001]
• Meios materiais ou ambientais,
ferramentas, Artefatos Cognitivos.
• Artefatos Cognitivos são dispositivos que
permitem a navegação através do espaço
problema (storytelling)
• Artefatos Cognitivos: reduzir o custo
cognitivo de uma operação; aumentar a
precisão de uma tarefa; permitir novas
capacidades ao cérebro
 1.2. Livro como Artefato
Cognitivo
Problem
Space • Meios para resolver problemas e
capacidade para criar novos problemas
B A
• Construção de Nicho Cognitivo (provém
do conceito biológico de nicho ecológico)
Cognitive • Evolução de habilidades cognitivas por
Artifacts meio de um feedback cíclico entre
espaços-problema e artefatos cognitivos
C
• Habilidades cognitivas: memória,
categorização, inferência analógica,
raciocínio causal, geração de hipóteses...
Cognitive • Como os livros digitais (vistos como
Abilities artefatos cognitivos com características
semióticas específicas) alteram as
habilidades cognitivas relacionadas ao
storytelling?
2. A revolução digital

• As tecnologias computacionais e o
advento dos dispositivos eletrônicos
de leitura (incluindo tablets e
smartphones) transformaram o objeto
livro (incluindo o ilustrado) no que
podemos chamar de e-book (e-
picturebook, para o ilustrado)
• Dentre as diversas classificações de e-
picturebooks no mercado, o que vem
apresentando mais possibilidades
diferentes para a experiência de
conteúdo narrativo é o book-app
2. A revolução digital

Book-app, story-app, ou enhanced book:

• Ilustração X Animação (recursos do
cinema)
• Músicas, efeitos sonoros e narração
• Capacidade de organização do conteúdo
de maneiras diferentes do impresso
• Novas formas de avançar na história
• Multi-touch e comandos avançados:
repertório gestual
• Recursos do dispositivo: acelerômetro,
giroscópio, câmera...
• Tendência gamification: sobreposição de
elementos interativos não-lineares
2. A revolução digital
• What's been challenging? Anything involving
location-based storytelling, intrinsic and overt
gamelike interactivity, augmented reality, and
'born digital' fiction. Although there are
encouraging signs that when published well these
experiments can be successful commercially –
apps like DEVICE 6 and The Walk showed this at
the end of last year. (…) The pressures of a
generation coming up who don't care about
owning 'things' will continue to be exerted on the
industry, as we grapple with the question of
access over ownership. But the future of reading
itself belongs with one peer group: writers. 2014
must see digital publishers returning again and
again to writers to inform them of creative
possibilities and work with them and their agents
to execute their ideas. (Dan Franklin, Random
House UK digital Publisher)
• Seasonal sales of tablets and smartphones have
been strong, and with many readers moving from
single function e-readers to more capable, multi-
function devices, the question is what effect this
shift will have on reading habits. (George
Walkley, Hachette UK head of digital)
• The ebook market for children has been slow to
grow, but ebooks aren't the only way that
children can read on-screen. As well as publishing
print books and ebooks, we make highly
interactive, award winning apps, so we are
particularly interested in the opportunities to use
digital devices to blur the edges between
storytelling and games. In a way, this is something
that great children's books like Where's Spot and
The Very Hungry Caterpillar have done for young
children for decades, but technology makes it
possible to take playfulness further. (Kate Wilson,
Nosy Crow managing director)
http://www.theguardian.com/books/2014/jan/10/digital-publishing-
next-industry-revolution
2.1. Novos artefatos cognitivos e
padrões de consumo
• Eric Shoup, How to Make Reading Relevant to
Today’s Consumer (May, 2nd, 2016 – DBW)
• “In a world where users can access entertainment
anytime and anyplace, all forms of media are
competing against each other for a scarce
resource: user attention”
• “Media consumption patterns are increasingly
mobile, digital and multi-platform. This evolution
has created a “multi-tasking” form of
consumption, in which users rarely give their full
attention to a single media source (...) the average
American is fitting in 31 hours of activity on a daily
basis”
• “one thing has remained constant for humans over
time: the desire for a great narrative. Narratives
persist through every technological revolution
because they are hard-wired into human
physiology. The real question is how we succeed
with consumers of the future given their changing
media habits”
3. Novidades e possibilidades

• Device 6 (iOS):
• A thriller in which the written word is
your map, as well as your narrator.
• It plays with the conventions of games
and literature, entwines story with
geography and blends puzzle and novella,
to draw players into an intriguing mystery
of technology and neuroscience.

https://www.youtube.com/watch?v=-VdeB9_q9nU
3. Novidades e possibilidades:
Device 6
3. Novidades e possibilidades

• Arcadia by Iain Pears (iOS):

• Become the master of your journey
following ten characters through three
interlocking worlds, in an original tale of
time travel, intrigue and adventure.
• Features:
- See characters’ stories diverge and
intersect in a map
- Record your path through story, and see
what lies ahead
- Follow the characters that interest you
most
- Discover the Notebooks for an even
deeper understanding of Arcadia

https://www.youtube.com/watch?v=4GQq-X8S1tU
3. Novidades e possibilidades:
Arcadia by Lain Pears
3. Novidades e possibilidades

• 80 days (iOS/Android):
• Based on Jules Verne’s Around the World
in Eighty Days.
• Midway between a Choose Your Own
Adventure book and a text-adventure
game, it suits longer sittings or shorter,
mobile-friendly sessions.
• Plan and strategise
• Flexible interactive narrative with
thousands of choices
• Every journey is unique
• Race real people in real-time

https://www.youtube.com/watch?v=NzR3GED4P7g
3. Novidades e possibilidades:
80 days
3. Novidades e possibilidades

• A wise use of time (iOS/Android):

• A Wise Use of Time is a thrilling 260,000-word
interactive sci-fi novel by Jim Dattilo.
• Your choices control the story. It's entirely text-
based--without graphics or sound effects--and
fueled by the vast, unstoppable power of your
imagination.
• Play as male or female; gay, straight, or bisexual.
• Develop relationships with one of four main
romantic options (or a secret one).
• Track your relationships and moral stats as they
change.
• Level up your time-control powers, or nullify
them to protect yourself and others.
https://www.youtube.com/watch?v=I35kDqROI8c
3. Novidades e possibilidades:
A wise use of time
3. Novidades e possibilidades

• The Walk (iOS/Android):

• Created with the NHS and the UK's
Department of Health, The Walk helps you
walk more, every single day. When you’re
playing The Walk, every step counts.
• You’ll walk the length of the UK while
evading capture by the police and enemy
agents. Can you work out who set off that
bomb in the first place and what their plan
is? Get ready for an epic adventure across 65
episodes, 800 minutes of audio, and
hundreds of miles.
• Get rewarded for walking more by collecting
clues, scanning for information, and
unlocking achievements.

https://www.youtube.com/watch?v=vJXZoKPR8Jw
3. Novidades e possibilidades:
The walk
3. Novidades e possibilidades

• Editions at Play:
• Visual Editions + Google Creative Lab in
Sydney = Editions at Play, a publishing
project and online bookstore that sells
books that “cannot be printed”.
• Four books released: Entrances & Exits,
The Truth About Cats & Dogs, All This
Rotting, STRATA.
• Ideas for books

http://editionsatplay.com/ - Acesse com dispositivos

móveis, escolha um dos livros lançados e clique em
“Try” para testar.
3. Novidades e possibilidades:
Editions at play
3. Novidades e possibilidades:
Entrances & Exits
3. Novidades e possibilidades:
The Truth About Cats & Dogs
3. Novidades e possibilidades:
Editions at play
• “We’re trying to make books that are delightful,
surprising and completely unprintable,” Gerber
says. “They’re not games and they’re not apps –
they’re all built out of HTML – but each one is
impossible to envisage on paper.” (Anna Gerber,
Visual Editions)
• “People like to talk about how physical books
have qualities that don’t transfer well to digital,”
says Iversen. “We want to show that digital books
can have narrative and visual qualities that
champion writing but can’t be transferred to
print.” (Britt Iversen, Visual Editions)
http://www.theguardian.com/books/2016/feb/03/publishers-developers-
digital-technology-unprintable-fiction-google-editions-play
• A self-proclaimed “believer in restrictions as
being catalysts for creativity”, Larsen says this
technical roadblock forced him to come up with a
solution better than his original conceit. Once a
prototype was up and running, the story “began
to teach us how it wanted to be told. It was
creating a grammar of story all on its own.” (...)
When you have a developer, writer and publisher
in a room, who has the final say? “I suppose I
did,” Reif Larsen says. “But maybe it’s more
correct to say the book did. The book really told
us what it needed (...) “Storytellers crave your
attention,” he says. “We need your attention. It’s
the only thing we’ve got. So we have to be smart I
think: (...) know our medium and platform. (...)
Use all the old tricks of great character, mystery,
love, drama, information withheld. But also let
the platform guide the story a bit. You’re not
writing in a vacuum.” (Reif Larsen, author –
Entrances & Exits)
 Obrigado!
Thales Estefani
thales.chaun@gmail.com