Another suggestion from another group is to include a narrative within our production, as beforehand, we were only planning to create three scenarios without connecting them into one whole story. As we are using Korsakow software, applying narrativity within our production would be beneficial in a way for Arfi, who sets the Korsakow software, to organise the storyline through keywords in and out. However, Arfi had a difficulty to connect the first scenario to the second and the second to the third smoothly without confusing the audience with a different scenario, especially with abstract visual representations of isolation.
One Korsakow example titled The Whole Picture by Tony Telson explores different situations, including being in love, having a special thing, and more. Each situation portrays abstract videos that appear to be the narrative of that particular situation, such as in the situation of ‘special things are happening’ where it shows cats in a box and followed by the portrayal of a cat cafe, which seems to suggest that the subject witness the presence of the cats inside the cat cafe. After the two shots, the project portrays the car that is trying to get fixed and then followed by a portrayal of a car being dragged by a tow truck, which seems to portray the difficulty to go home after the subject is done being in cat cafe.
However, the project by Tony Telson portrays the narrative within each situation, where it would be smooth to use jump cut as the transition of one place to another to create a storyline. In contrast, we had to apply the narrative within the scenario of our project. So, we were suggested to include an interlude as a transition from the first scenario to the second, and from the second to the third. Thus, by applying an interlude to connect each scenario to become one storyline, it would make Arfi, who edit the Korsakow software, easier to organise the keyword in and keyword out. More importantly, it would portray a smooth transition to form a storyline, which would make the audience easier to interpret the meaning without confusion. It is, in fact, was mentioned by de Lima, Feijó, and Furtado (2018) that transitions is one of the requirements to be applied within a video-based interactive narrative (p.2339).
By applying the narrative, our project was changed from nonlinear narrative to multilinear, because although the audience would not be able to go back to the previous scenario, the audience would still be able to select different perspective point of view of the subject, which depict the nonlinearity of the narrative, while the audience would be led to interact with our project to the end of the story, which indicate the linearity of our production.
References
De Lima, ES, Feijó, B, & Furtado, AL 2018, ‘Video-based Interactive Storytelling Using Real-Time Video Compositing Techniques’, Multimed Tools Appl, vol.77, pp.2333-2357
