Rewriting the Story: How Mobile Devices Are Shaping New Narrative Forms

 

In contemporary society, screens such as those used for films, videos, and computers, are central to both our work and leisure, profoundly influencing our sense of self. Historically, our identities might have been shaped by language or print-based culture, but today, screen-based interfaces fundamentally change how we interact and communicate, suggesting a transformation in our identities as noted by Vivian Sobchack.

Despite their ubiquitous presence, screens possess a dual nature: they are both windows offering illusions and tangible objects that physically exist. Philosopher Stanley Cavell, writing in 1971 about cinema, insightfully described screens as barriers that simultaneously present a world and hide its reality, stating, "A screen is a barrier. It screens me from the world it holds—that is, screens its existence from me." This observation remains sharply relevant, not only for cinema but also for modern literature, highlighting the complex role screens play in shaping contemporary narrative and perception.

Since the 1990s, the landscape of reading and writing has undergone profound transformations, comparable in scale to the advent of movable type. Today's diverse communication technologies—ranging from smartphones to social networks—have each reshaped our language and societal interactions in unique ways. For instance, text messaging has largely replaced phone calls for quick, everyday communication, allowing people to exchange brief notes via the same devices they could use to talk. Similarly, emails have largely supplanted traditional mail, while online social platforms have redefined how we socialize.

These shifts are not confined to one niche; they span across all forms of written expression found online, affecting everyone who interacts with digital devices. This new era of electronic literature is just a fraction of the broader digital textual transformation. For creative writers, these changes open up unprecedented opportunities. Each digital platform offers a fresh medium for creative output and a chance to reflect on the evolving practices of writing in a networked world.

Mobile devices have become ubiquitous companions, performing a multitude of functions from messaging and photography to handling contacts and accessing the internet. Recent advancements have significantly enhanced their capabilities, equipping them with GPS, motion sensors, barcode readers, and touch displays. This technological evolution parallels the transition from bulky virtual reality equipment in the 1990s, such as the Touring Machine and Map-in-the-Hat—which required large backpacks for their computing and GPS gear—to today’s compact smartphones that easily fit these technologies into our pockets.

This technological leap opens up exciting possibilities for storytelling that go beyond traditional text-based e-books. For instance, could these sophisticated smartphones enable new forms of interactive or immersive narratives? Let’s explore two potential applications of how these devices might revolutionize storytelling.

34 North 118 West

"34 North 118 West" by Jeremy Hight, Jeff Knowlton, and Naomi Spellman, created in 2002, is often hailed as the pioneer of locative narratives—stories that unfold through a user’s location, detected via GPS. This narrative takes place in an old industrial neighborhood of Los Angeles, with participants carrying a backpack equipped with a GPS unit and a tablet. As they walk through specific spots, historical audio narratives related to the late 19th-century rail yard in that area are triggered. These stories include vivid accounts from a railroad worker who discovered a body on the tracks and a tire plant worker recounting a factory explosion. Hight describes this experience as "narrative archaeology," where participants encounter the echoing voices of the past amidst the still-standing century-old buildings, effectively blending history with the physical exploration of space.

The format of an audio walk, which "34 North 118 West" utilizes, has gained popularity in locative narratives. This format typically involves listening to audio through headphones, allowing participants to simultaneously absorb their surroundings visually. Teri Rueb's "Itinerant" (2005) is another notable example of this format. Set in central Boston, it weaves together elements of Mary Shelley's Frankenstein with a narrative about a mysterious uncle whose sporadic visits bring turmoil and tales of adventure. Rueb transformed familiar Boston locales like Commonwealth Avenue and Boston Common into thematic narrative spaces, creating a patchwork of stories that participants might explore in non-linear fashion, similar to navigating a hypertext.

As technology evolved, the heavy equipment initially necessary for such experiences has been replaced by simpler tools like smartphones and apps, significantly lowering the barriers for creating and participating in locative narratives.

Manhattan Story Mashup

"Manhattan Story Mashup" was a groundbreaking storytelling event that utilized web, mobile phones, and the massive public displays of Times Square to create an interactive narrative experience. During the event, participants used a website to write stories which were then brought to life by "street players" in New York who captured matching photos using their camera phones. The best illustrated stories were showcased on eleven large screens in Times Square, and the authors could watch their stories unfold in real-time through their web browsers.

The gameplay of Manhattan Story Mashup was structured around keywords from the web users' stories. These keywords were relayed to mobile users, one at a time, who then took photographs that they felt best represented the words. To ensure relevance and accuracy, each photo was shown alongside the original keyword and three alternatives to two other mobile users, who voted on the most fitting word for the photo. If either chose the original keyword, the photo was approved and added to the visual story displayed both online and on the public screens as a piece of collaborative street art.

Players earned points for taking accurate photos and selecting the correct keywords. The website also allowed users to craft stories from scratch or build upon existing ones, giving them a unique opportunity to influence a major public display in an iconic location and interact with real people on the streets. The game, held in September 2006, saw 184 players navigating Manhattan for 1.5 hours and taking a total of 3,142 photos.

A user evaluation conducted during the game highlighted its enjoyment factor, with features such as photo-taking, fast-paced decision making, and team collaboration being particularly popular. Players enjoyed the challenge of visually interpreting words, making quick judgments, and working together to depict more abstract concepts through street performances. The chance to participate in such a unique collaborative storytelling effort was highly motivating, especially given the thrill of seeing the unpredictable results displayed in Times Square. The success of Manhattan Story Mashup demonstrated the versatility of mobile phones and public displays in creating innovative, participatory forms of narrative.

Conclusion

"Manhattan Story Mashup" and "34 North 118 West" serve as prime examples of how digital technologies can transform storytelling, taking it beyond the confines of traditional media. These projects illustrate the potential of mobile devices and location-based technologies to create immersive narrative experiences that engage participants actively in the storytelling process. "Manhattan Story Mashup" utilized mobile phones and public displays to weave collaborative stories in real-time, while "34 North 118 West" used GPS technology to deliver historical narratives tied to specific physical locations in Los Angeles.

For authors eager to explore new forms of engagement with audiences, these examples highlight the vast possibilities offered by mobile devices. Instead of merely using phones for reading or writing traditional ebooks, authors can harness the creative capabilities of their smartphones to innovate and experiment with storytelling. Mobile devices, equipped with cameras, GPS, and connectivity, provide a toolkit for creating interactive, location-aware, and multimedia narratives.

Authors should think beyond conventional uses of their devices and leverage their creativity, skills, and ideas to craft stories that can interact with and inspire audiences in novel ways. Whether through augmented reality, interactive ebooks, or participatory narrative projects, there are a wealth of opportunities to use mobile technology as a dynamic platform for artistic and literary expression.

This approach enriches the storytelling experience and connects with audiences on a more engaging and personal level, making each story not just something to be consumed, but an adventure to be lived.