This multimedia work about the 2010 earthquake in Haiti breathes life into the natural disaster by allowing readers to explore the stories of three characters who experienced it. The winner of the 2011 New Media Writing prize in the student category, this is a truly a work that arises from the logic of new media writing, seamlessly integrating elements of comics, narrative, cyberdrama, electronic literature, and videogames.
This award-winning Web documentary about a short-lived mining town in Canada made the 2011 New Media Writing Award shortlist. A masterful, lovingly produced piece is challenging to categorize in terms of genre: is it a video (its interactivity and born-digital ontology make it difficult to label as “film”), memoir, narrative, poem, or an artistic website? As a multimedia work (using audio, video, text, images) that requires multimodal engagement (reading, listening, viewing, interaction) from its audience, it is fittingly multi-generic.
This comic strip narrative in prose and verse reinvents the story of the Pied Piper of Hamelin, but with a character called “Hobo Lobo.” Reimagining the comic strip using Scott McCloud’s notion of the “infinite canvas” the comic goes beyond the traditional implementation of a two-dimensional strip. The innovative aspect is that he uses layers to produce a three dimensional parallax effect when the reader scrolls and rethinks the panel by centering layers on adjacent segments on the strip, as he explains in his Parallaxer tutorial. The effect of these layers and panel transitions enhances narrative continuity in panel transitions by replacing the comics gutter with the more cinematic mise-en-scène.
Enjoy this fun retelling of the folktale in all its layers: politics, images, social issues, technology, media, genre, and more, keeping in mind that you’ll notice different things depending on what angle you view it from.
Featured in New Media Writing Prize 2012
This multimedia poem is a profound meditation on place. Based on photographs and sound recordings taken from the same window over the course of a year, this work seeks to capture a sense of space for readers to enter. Norman directly credits John Cage as an inspiration for this piece— a musician interested in listening to ambient sounds and directing audiences to the same, as he did with his (in)famous 4’33”.
This narrative poem is a fascinating type of hypertext because instead of having five primary nodes from which to follow linear threads it uses a layering interface for navigation. The reader, instead of clicking on links, scrapes away at images to reveal an image beneath, and can continue to scrape away until she reaches the end of that narrative thread. This allows readers to reveal more than one layer at a time, as pictured above in a screenshot of three layers in the introduction.