Stories have always fascinated people. Both telling and listening to them could be legitimately considered one of the human kind’s favorite and most distinctive activities. Almost everyone can say to have a favorite story, that, as a child or as an adult, charmed them with the tales of an adventure inside a mysterious world. As children, we heard bedtime fairytales told by our parents, we leaf through illustrated storybooks, we watched cartoons. Many of us have grown with unforgettable stories, that shaped our dreams and expanded the realm of our immagination, pushing through the boundaries set by the reality, in a neverending flow of emotions and wonder. In time, we witnessed some of those stories evolving into a more complex reality, breaking the limits of the media through which they were firstly introduced, expanding their universes, exploiting different channels, where new narrative treads found place, growing the interest of new audiences and, sometimes, of new generations, becoming massive commercial successes. It is actually amazing how a single story, born from the immagination of one author, can grow in time to become a massive franchise, a milestone for the pop culture, a reality firmly printed in the collective imagination. At the end of 2019 I came into a novel which hadn’t been published yet, characterized by a unique narrative style along with a complex, wide, intriguing fantastic storyworld: Agapanto. This novel prsented all the elements to give life to a brand new narrative universe; but standing out today means facing a crowded panorama of competitors, and the publishers aren’t always open to invest into a new book without guarantees of economic success. If only this fascinating storyworld had the chance to come in contact with the public, coming out out of the pages of the book, if it could present itself in all of its originality and wonder in a way that the public, once they have got to know it, will be lured to the book, excited to explore more of it. All of those communication channels and digital devices we have at our disposal today seem to suffocate the book market; but if exploited in the right ways, digital technologies can actually enhance books, channeling the users’ attention to them, and the great stories that we have seen evolving into huge franchises are the tangible proof of it. By studying the structure of storyworlds, understanding the behavior of the audiences and analyzing examples of successful projects, we want to follow a design process that will ultimately answer the question that the case of Agapanto raised: how can we bring a storyworld to life, and is digital interaction a valid support?
Le storie hanno sempre affascinato le persone. Sia raccontarli che ascoltarli potrebbero essere legittimamente considerati una delle attività preferite e più distintive del genere umano. Quasi tutti possono dire di avere una storia preferita, che da bambino o da adulto li ha incantati con le storie di un'avventura in un mondo misterioso. Da bambini, abbiamo sentito le favole della buonanotte raccontate dai nostri genitori, sfogliamo libri illustrati, guardavamo i cartoni animati. Molti di noi sono cresciuti con storie indimenticabili, che hanno plasmato i nostri sogni e ampliato il regno della nostra immaginazione, spingendo attraverso i confini stabiliti dalla realtà, in un flusso infinito di emozioni e meraviglia. Nel tempo, abbiamo assistito ad alcune di quelle storie che si evolvono in una realtà più complessa, rompendo i limiti dei media attraverso i quali sono stati introdotti per la prima volta, espandendo i loro universi, sfruttando diversi canali, dove hanno trovato posto nuovi passi narrativi, aumentando l'interesse del nuovo pubblico e, a volte, delle nuove generazioni, diventando enormi successi commerciali. È davvero sorprendente come una singola storia, nata dall'immaginazione di un autore, possa crescere nel tempo per diventare un franchising di massa, una pietra miliare per la cultura pop, una realtà saldamente impressa nell'immaginario collettivo. Alla fine del 2019 sono entrato in un romanzo che non era ancora stato pubblicato, caratterizzato da uno stile narrativo unico insieme a un fantastico, complesso, vasto, intrigante mondo di storie: Agapanto. Questo romanzo ha aggiunto tutti gli elementi per dare vita a un universo narrativo completamente nuovo; ma distinguersi oggi significa affrontare un panorama affollato di concorrenti e gli editori non sono sempre aperti a investire in un nuovo libro senza garanzie di successo economico. Se solo questo affascinante mondo della storia avesse avuto la possibilità di entrare in contatto con il pubblico, uscendo dalle pagine del libro, se potesse presentarsi in tutta la sua originalità e meravigliarsi in un modo che il pubblico, una volta che hanno avuto conoscerlo, sarà attirato dal libro, entusiasta di esplorarne di più. Tutti quei canali di comunicazione e dispositivi digitali di cui disponiamo oggi sembrano soffocare il mercato dei libri; ma se sfruttate nel modo giusto, le tecnologie digitali possono effettivamente migliorare i libri, incanalando l'attenzione degli utenti su di loro e le grandi storie che abbiamo visto evolvere in enormi franchising ne sono la prova tangibile. Studiando la struttura dei mondi della storia, comprendendo il comportamento del pubblico e analizzando esempi di progetti di successo, vogliamo seguire un processo di progettazione che alla fine risponderà alla domanda sollevata dal caso di Agapanto: come possiamo dare vita a un mondo di storie e l'interazione digitale è un valido supporto?
Bringing storyworlds to life through digital media interaction
GUALANDRIS, BARBARA
2019/2020
Abstract
Stories have always fascinated people. Both telling and listening to them could be legitimately considered one of the human kind’s favorite and most distinctive activities. Almost everyone can say to have a favorite story, that, as a child or as an adult, charmed them with the tales of an adventure inside a mysterious world. As children, we heard bedtime fairytales told by our parents, we leaf through illustrated storybooks, we watched cartoons. Many of us have grown with unforgettable stories, that shaped our dreams and expanded the realm of our immagination, pushing through the boundaries set by the reality, in a neverending flow of emotions and wonder. In time, we witnessed some of those stories evolving into a more complex reality, breaking the limits of the media through which they were firstly introduced, expanding their universes, exploiting different channels, where new narrative treads found place, growing the interest of new audiences and, sometimes, of new generations, becoming massive commercial successes. It is actually amazing how a single story, born from the immagination of one author, can grow in time to become a massive franchise, a milestone for the pop culture, a reality firmly printed in the collective imagination. At the end of 2019 I came into a novel which hadn’t been published yet, characterized by a unique narrative style along with a complex, wide, intriguing fantastic storyworld: Agapanto. This novel prsented all the elements to give life to a brand new narrative universe; but standing out today means facing a crowded panorama of competitors, and the publishers aren’t always open to invest into a new book without guarantees of economic success. If only this fascinating storyworld had the chance to come in contact with the public, coming out out of the pages of the book, if it could present itself in all of its originality and wonder in a way that the public, once they have got to know it, will be lured to the book, excited to explore more of it. All of those communication channels and digital devices we have at our disposal today seem to suffocate the book market; but if exploited in the right ways, digital technologies can actually enhance books, channeling the users’ attention to them, and the great stories that we have seen evolving into huge franchises are the tangible proof of it. By studying the structure of storyworlds, understanding the behavior of the audiences and analyzing examples of successful projects, we want to follow a design process that will ultimately answer the question that the case of Agapanto raised: how can we bring a storyworld to life, and is digital interaction a valid support?| File | Dimensione | Formato | |
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https://hdl.handle.net/10589/164682