The Story Lab – My Short Story

A low, solemn note reverberated around the square as the bell tolled in the high tower. He begins walking down the gravel path, people jeering either side of it, their faces filled with derision.

I am innocent. I am not a bad man. I provided for my family, I helped the community, I am integral to the evolution of science and mankind alike. Nothing I did was ever against the betterment of humanity; scientific research to aid progress. For what of the world’s inner workings would we understand without the crucial information I gleaned from everything I did?

The church bell rings for the second time. He pauses at the foot of the wooden steps, apprehension freezing his body in place. Red droplets stain the coarse stones beneath his feet as they bleed freely. He turns around to scan the citizens who line the path, a seemingly endless crowd of unanimous conviction.

There they stand, leering at me like I am a rabid dog that needs to be put down before it attacks one of the virtuous followers of justice. How hard it must to stand amongst a mass of unassuming peers and pass judgement onto someone labelled guilty without truly knowing all the facts. I heard them all, whispering about the graves. But do any of them know what was buried in the earth? They were only animals, sick and dying, on their last legs and perfect for experiments. Close to the end, what could be a better way to spend the final hours of your life than helping future generations learn more about the grand scope of things?

The church bell rings for a third time. The two guards simultaneously push him forwards, making him climb the three wooden stairs to the wide platform in the middle of the throng. He winces as a splinter pierces his toe, drawing more blood from his tattered feet. He looks up to the swathe of angered faces, holding his head high, dignified and proud.

They knew he was innocent. They heard him screaming it to the police as they led him away from his home, his solitude from the stupidity of those outside, where he could investigate the natural world in peace. Away from the incessant pleas of the people, begging to be cured of a simple sniffle so they could go back to work on Rennie’s Bridge and provide for their families. I am a scientist, not a doctor to aid those in “need” whenever they summon me. I am a man out of his time and the simpletons of this century cannot understand the breakthroughs I have and will continue to make.

The church bell rings for the fourth time. The guards push him into position and he can feel the trap door give slightly beneath his feet. The officer raises his hands for silence from the unruly crowd.

“Everett Newton Irving, you have been found guilty of thirty-seven counts of murder…”

Lies.

“…including the death of Lord Wilde and his two daughters.”

A dying man and his feeble offspring.

The church bell rings for the fifth time.

 “You have been convicted through the evidence found by the City of London Police which include, but is not limited to, the thirty-six graves found in the garden of your residence…”

A fitting tribute for those who contributed to the future of mankind.

“… the illegal surgical equipment used to torture your victims…”

MY LAB YOU BLIND APE! An operating theatre dedicated to uncovering the mysteries of humanity in order to ensure a better future for every drooling buffoon on this rock!

“…and the most damning fact being the discovery of yourself in the midst of torturing your wife, Veronica Irving.”

An intrusion into what would have been my greatest discovery, I am sure of it.

The church bell rings for the sixth and final time. The executioner grabs his hair, placing the rope around his neck and throwing a sack over his head to wild applause from the restless horde. He then walks to his station, his heavy footsteps sending vibrations through his feet and up to his skull.

In time, with the coming generations, they will finally understand my noble work. They will praise me as the greatest mind of my time and weep over my wrongful death.

The trapdoor suddenly gives way. The rope constricts around his neck, immediately cutting off his breathing. He gasps for life as his body swings in tandem with the cheers of the London public. He feels death approach, the final light bringing an unfamiliar sensation with it. It grabs his heart and grips it tight. Fear has finally pierced his soul.

I am guilty.

The Story Lab – Week 3: Transmedia and Audiences

Through this week’s reading, Max Giovagnoli discusses the relationship between transmedia and its audiences and what makes an effective story work. If the story is crossing multiple platforms, which it must considering it is a transmedia property, the links and explanation of the relationship between the various mediums needs to be clear. If a link is hard to believe, that is to say it makes little sense to connect two mediums, than the audience will be pulled out of the narrative and so transmedia stories need to feel natural for them to succeed.

A way to achieve this is the repetition of hooks, bridges and links between platforms to create various entry points into the story. If an someone becomes aware of the narrative halfway through it’s run, they need a point of access that is understandable for them and does not rely on them being present from the beginning to enjoy the experience. One way to do this are narrative hooks which involves seeding ideas that will come up again later on in the story, making it feel more like a journey and building on natural curiosity to reach a fulfilling payoff.

A second way to continually engage an audience is frequent clarification. Repetition of the main plot points allows for people to enter the narrative at any point in time yet to ensure current players do not become bored and annoyed at the constant reminder, the repetition needs to be done in various was so the audience does not feel like they are being spoon fed.

To create an engaging transmedia story, the creator must be aware of their audience throughout the entire process.

The Story Lab – Week 2: Sherlock: The Network App

I am a huge fan of the TV show Sherlock, I will say that up front, having watched my favourite few episodes more than five times each. I have never heard of Sherlock: The Network App before and after playing it, I can kind of see why. I played the first two missions fairly quickly and in full disclosure, I was fairly bored that day so it provided a distraction before I had to go out and so I bought the next few missions to see where the story. Yet, a few days later I had not gone back to it so I deleted it without bothering to discover if Mrs. Hudson was ever rescued (spoilers, she probably was). I was surprised to see that Benedict Cumberbatch and Martin Freeman had filmed short videos soley for the game which provided a nice draw for the game, but this feeling was quickly dispelled by the uninteresting missions and unengaging gameplay. Information was given through boring walls of text and the mini games were so simple to allow anyone to continue through the game without much difficulty, yet there was always an option to simply skip the challenge if you took too long.

On its surface, the app seems to be made for fan enjoyment, and while some fans may get a kick out seeing their favourite characters interacting with them through the phone and text messages, it is very clear that this is merely a glorified ad to attempt to tide fans over during the excruciatingly long waits between seasons of the show. Characters were shown through what the fans like about them most such as Watson’s exasperation at Sherlock’s abrasiveness or Molly Hooper’s crush on Sherlock to make it feel as if they are a part of the world they love seeing on screen. But a lack of effort based upon the assumption that these aspects would be enough is glaring, and while Sherlock: The Network App does work as a marketing tool to keep the show in people’s consciousness, it fails spectacularly at being something worth playing.

The Story Lab – Week 2: Sherlock

Beginning in 2010, the BBC’s Sherlock was created by Steven Moffat and Mark Gatiss, the showrunner and writer for the BBC’s other cult hit, Doctor Who, respectively. This is relevant as the two titular characters of both shows are male protagonists, taken out of their own time, misunderstood by their peers and much smarter than anyone else around them. The character of Sherlock was created by Arthur Conan Doyle in 1887 and gaining popularity in 1891 in short stories published in The Strand Magazine.

The character has stayed within the popular zeitgeist due to its complexity and the depth of his supporting players. The 2010 television series takes the character and places him in modern day London, with the use of the internet and mobile phones as tools to solve his crimes. This allows for the showrunners to play with fan theories and groups within the show such as the sub plot of the premiere episode of season 3 which revolved around how Sherlock survived his fall and the end of the previous season.

Sherlock is a modern show and its fans thrive on the internet on many social media platforms. They use the freedom of the internet to showcase the theories of the story, discuss their favourite characters and guess what the future of the show will be. Modern audiences have the ability to simultaneously watching a show while using the internet to research or talk about what they are watching. Multiple screens and platforms allow for the story and world of a show to thrive beyond the hours shown on screen and Sherlock has become a phenomenon by generating a dedicated fan base who understand the online environment.

The Story Lab – Week 1: Character

I have watched a lot of television and film and even though transmedia has existed in many forms for a while, since the conception of the Marvel Cinematic Universe, expanded movie universes have been an obsession for Hollywood. I bring this point up in my first blog post of the semester because I have a feeling I will be discussing the MCU and its impact on story telling across platforms throughout the length of the course. I am well versed in the cinematic universe, having seen every movie and each television show (apart from a few episodes of Agent Carter) and through simply viewing each piece of the Disney/Marvel puzzle, it becomes clear why it has been such a success. The characters.

In his book, In Story: Style, Structure, Substance, and the Principles of Screenwriting, Robert McKee highlights the importance of audience empathy for the protagonist in films. An engaging story follows a character whose story the viewer can emotionally invest their time and attention to. McKee outlines how to create an empathic character, highlighting the main contributor as the audience recognising the character’s humanity, binding the fictional life with their own which allows them to invest into the story being told. The protagonists in the MCU are superheroes, having powers or lives filled with extravagance from their abilities to their resources which are impossible for movie goers to experience. Yet, their humanity shines through on screen through qualities such as humour or fears creating well rounded characters for real life people to connect with. In a world filled with other worldly beings and all kinds of extraordinary events, audiences keep coming back to the story on whatever medium it is presented on, because the characters have are fully fledged and easy to empathise with.