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Digital Literature Review: Space Frog!

Digital Literature Review: Space Frog!

Space Frog! (npckc, n.d.) is a piece of hypertext fiction that embodies a Choose Your Own Adventure style of reading. The story is about a frog called Space Frog, who is on a quest to find a star. The simplicity of the story line and the use of anthropomorphic animals makes it a suitable option to use as an introduction to hypertext fiction for a younger audience.

 

The first Choose Your Own Adventure book was published in 1979, with the concept becoming popular in the eighties, and to this day, is the fourth best-selling book series of all time (Jamison, 2022). In the books, readers would be presented with choices to make at crucial points within the story. The reader would then be guided to a different page within the book to continue the story. The hyper-connectedness of the internet streamlines this literary style by removing the need for flicking through pages. This is suitably demonstrated in Space Frog!, where the reader is in control of how the story evolves through the use of hyperlinks. At points throughout the story, the reader is prompted to make decisions about which direction the story should go by clicking on the hyperlink that corresponds with how they would like the story to progress.

Choices are made using hyperlinks (npckc, n.d.)
Choices are made using hyperlinks (npckc, n.d.).

The story contains simple, computerised graphics that align with the content of the text on each screen. With many other children’s digital narratives, the story remains fixed while the illustrations contain interactive digital elements. For Space Frog!, the opposite is happening; the graphics are static and contain no interactive elements, while it is the story itself that readers can manipulate and change. The use of static graphics takes away the element of distractibility that illustrations containing hotspots can possess (Hoel & Jernes, 2023, p. 12). On the other hand, it is a missed opportunity to utilise the full abilities of digital media to create graphics that enhance a young readers comprehension of the story.

 

While the content is appropriate for a younger audience, it does not contain any digital supports that would allow an early reader to read the text independently. Accessibility features, such as narration or text-to-speech, would assist an early reader to access this piece of digital literature independently. Instead, early readers may require an adult to read with them in order for them to access the text.

 

On pages where there is no decision that needs to be made, the reader progresses the story by clicking on forward arrows to move the text forward, or backward arrows to go back to the last page. In linear digital story books, research has shown that students in upper primary don’t often adhere to the “codex convention of reading” and will move forwards and backwards, subsequently affecting their comprehension and recall of the text (Trushell et al., 2001, p. 399). Given that hypertext narratives possess the added complexity of not being as linear as a traditional text, if these behaviours are exhibited when reading Space Frog!, it could greatly impact a child’s comprehension of the story. This is another reason why the text would need to be read in the company of an adult.

Arrows are used to move the story forwards and backwards (npckc, n.d.)
Arrows are used to move the story forwards and backwards (npckc, n.d.).

Space Frog! exists within a niche in the hypertext fiction world as there doesn’t appear to be many hypertext fiction pieces suitable for younger children. When searching for hypertext fiction on websites such as the Interactive Fiction Database and itch.io, the majority of their titles appear to be aimed at a much older demographic as they contain mature themes. Also, much of the hypertext fiction that exists on the internet is self-published, therefore teachers would need to be critical of their quality. Grammar, spelling, punctuation, and appropriate themes would need to be evaluated before sharing a selected piece with the students (Dobler, 2013, p. 21). From reading Space Frog! multiple times and using alternate scenarios and endings, there does not appear to be any grammatical, spelling or punctuation errors, therefore would be suitable to use within the classroom.

 

In a classroom context, Space Frog! could be used to model hypertext fiction or the concept of Choose Your Own Adventure to the class. It could be used in independent reading by proficient readers, but due to the lack of accessibility features, it would require scaffolding and support for early readers.

 

Space Frog!’s simplicity is its strength as well as its weakness. Its content is suitable for a younger audience and its simple design and graphics make it not as distracting as other digital literature aimed at children. However, it’s lack of accessibility features, such as narration and text highlighting, means it would require adult support for a child to read it.

 

References

Dobler, E. (2013). Looking beyond the screen: evaluating the quality of digital books. Reading Today30(5), 20-21.

Hoel, T., & Jernes, M. (2023). Quality in children’s digital picture books: seven key strands for educational reflections for shared dialogue-based reading in early childhood settings. Early Years. https://doi.org/10.1080/09575146.2023.2172552

Jamison, L. (2022, September 12). The Enduring Allure Of Choose Your Own Adventure Books. The New Yorker. https://www.newyorker.com/magazine/2022/09/19/the-enduring-allure-of-choose-your-own-adventure-books

npckc. (n.d.). Space Frog!. https://npckc.itch.io/space-frog

Trushell, J., Burrell, C., & Maitland, A. (2001). Year 5 pupils reading an Interactive Storybook on CD-ROM: losing the plot?. British Journal of Educational Technology32(4), 389–401. https://doi.org/10.1111/1467-8535.00209

Digital Literature Review: K’gari

Digital Literature Review: K’gari

K’gari (SBS, n.d.) is a digital documentary that challenges Eliza Fraser’s account of events from when she became shipwrecked on the island of K’gari (previously known as Fraser Island) in 1836. This review will apply the cognitive theory of multimedia learning (Mayer, 2021, p. 34) to analyse the effectiveness of the digital elements used within this digital documentary.

 

The cognitive theory of multimedia learning outlines that learners actively process incoming information through multimedia when it engages both the visual and auditory senses concurrently through focused and thoughtfully laid out content (Mayer, 2021, p. 34). The theory is based on three assumptions: “dual channels”, “limited capacity” and “active processing” (Mayer, 2021, p. 34). These three assumptions will be elaborated on and applied to K’gari to analyse the effectiveness of the digital elements used for learning the Butchulla’s side of the story.

 

The first of these assumptions is that humans acquire information through “dual channels”, being the visual and aural channels (Mayer, 2021, p. 34). In K’gari, Eliza Fraser’s recount is presented through written word on the screen while concurrently being narrated by Miranda Otto, hence simultaneously engaging both the visual channel with written word and aural channel with narration. The Butchulla’s side of the story engages the aural channel by orally recounting their history of events and engages the visual channel through animations that support what is being said.

 

K’gari builds upon this first assumption by adding in a third sense, touch. The powerful digital effects mean the reader doesn’t just question Eliza Fraser’s account of events but is actively encouraged to physically destroy the words with powerful digital effects, like triggering lightning to strike at the words, physically washing away the text with the waves of the ocean and blowing paragraphs away with the wind.

The reader clicks the screen to trigger lightning to destroy Eliza Fraser’s words (SBS, n.d.).
The reader clicks the screen to trigger lightning to destroy Eliza Fraser’s words (SBS, n.d.).

The second assumption is that each channel has a “limited capacity” in the amount of information that it can process at one time (Mayer, 2021, p. 36). K’gari chunks the information by presenting the reader with one paragraph of Eliza Fraser’s recount at a time, then presents the Butchulla’s rebuttal to what has just been said. This back-and-forth continues throughout, with the documentary only progressing when the reader clicks their mouse. This allows the reader to set the pace in which they absorb the information presented.

 

The third assumption is “active processing”, where humans actively make sense of the information being presented to them by paying attention to the incoming information, integrating it with their prior knowledge, and cognitively organising this new information (Mayer, 2021, p. 37). The juxtaposition of these two recounts side-by-side provides scaffolding for the user to actively compare and contrast both accounts simultaneously. This is not something that can be as easily replicated in print form as the history of First Nations Australians is primarily an oral history, spanning 60,000 years (Koori Heritage Trust, n.d.), whereas history in England, where Eliza Fraser originated from, has primarily taken the form of written records (English Heritage, n.d.). This digital documentary provides the perfect platform upon which these two differing mediums of history telling can be juxtaposed side-by-side, comparing the Butchulla peoples’ oral retelling of events against Eliza Fraser’s written words.

 

By analysing K’gari against the cognitive theory of multimedia learning, it is evident that K’gari’s digital construction makes it a highly effective piece of digital literature for learning. It has applications within the classroom across the Australian Curriculum, as this digital documentary aligns well with the learning areas of English and History and Social Sciences (Australian Curriculum, Assessment and Reporting Authority, n.d.). It is also an authentic way to embed the ‘Aboriginal and Torres Strait Islander Histories and Cultures’ cross-curriculum priority into units of work.

 

Digital documentaries are a powerful medium upon which the oral histories of First Nations Australians can be preserved. It is estimated that around 90 percent of First Nations Australian languages are critically endangered (Johnson, 2016, para. 24). The significance of the K’gari digital documentary is three-fold; it corrects Australian history, preserves the oral history of the Butchulla people, and educates readers on the purpose of correcting the name of ‘Fraser Island’ back to ‘K’gari’.

 

From analysing K’gari through the lens of the cognitive theory of multimedia learning, one can see how the digital elements employed are a powerful way for the Butchulla people to reclaim their history from the falsehoods perpetuated by Eliza Fraser. The juxtaposition of oral history with written history through the use of engaging visual, aural and tactile digital elements creates a crucial learning experience for readers.

 

References

Australian Curriculum, Assessment and Reporting Authority. (n.d.). The Australian Curriculum.

English Heritage. (n.d.). Story of England. https://www.english-heritage.org.uk/learn/story-of-england/

Johnson, L. (2016, October 6). What is language extinction and why should we care?. SBS. https://www.sbs.com.au/nitv/article/what-is-language-extinction-and-why-should-we-care/3zxux82rm

Koori Heritage Trust. (n.d.). Oral and Visual Recordings. https://koorieheritagetrust.com.au/visit-us/collections/oral-visual-recordings/

Mayer, R. E. (2021). Multimedia learning (Third edition.). Cambridge University Press.

SBS. (n.d.). K’gari Interactive Documentary. https://www.sbs.com.au/kgari/

Digital Literature Review: Hairy Maclary from Donaldson’s Dairy

Digital Literature Review: Hairy Maclary from Donaldson’s Dairy

The popular children’s book Hairy Maclary from Donaldson’s Dairy by Lynley Dodd (2005) has been digitally reproduced into an interactive iPad app, with digital elements included that support early readers to read the story independently.

 

The digital version of Hairy Maclary from Donaldson’s Dairy mimics the layout of the print books, with pictures on the left-hand side of the screen and matching text on the right. This makes the format familiar to children who have experienced reading the print version of the story. The digital reproduction of this book effectively uses digital features to scaffold the story so early readers can read the story independently. As the narrator is reading the story aloud, the words change from red to black and bounce off the page, assisting the reader to visually track text and promote left-to-right directionality. Words can be tapped individually and read aloud by the narrator. Children can also swipe their fingers over the text, and the narrator will read the section that the child’s finger has passed over.

An example of text movement (Kiwa Digital, n.d.)
An example of text movement (Kiwa Digital, n.d.).

The illustrations within the app are identical to those within the original book, but small movements have been added, such as the blinking of eyes, or the nodding of a head. There are hotspots located within the illustrations, but these are limited to the bark of the dog or the meow of a cat. The subtlety of these additions minimises distractions from the storyline.

 

It is through the playful use of language, like the rhyme and alliteration found in the Hairy Maclary series of stories, that children develop their language abilities. Children’s stories that contain these fundamental elements usually need to be read aloud by an adult for pre- and early readers to access the language contained within the story. Research has shown that digital texts have an advantage over their printed counterparts when it comes to comprehension and vocabulary development when children are reading independently (Takacs, Swart & Bus, 2014, p. 10). The inclusion of a narrator means children are not reliant on an adult to access the story and enables them to independently access the rich language contained within (Hoel & Jernes, 2023, p. 10). In this context, the digital reproduction of Hairy Maclary from Donaldson’s Dairy gives greater opportunities for a child to independently enhance their language abilities when compared to reading the same text in printed form. In a school context, the Hairy Maclary from Donaldson’s Dairy app is a suitable choice for implementing within literacy rotations or as independent reading, as a teacher does not need to be working one-on-one with the child for them to read the story.

 

Readers who are deaf are supported through the inclusion of a signing narrator, telling the story using Australian Sign Language (AUSLAN), New Zealand sign language or American sign language. Multimodal texts that tie together the text, oral narration and sign are advantageous for children who are deaf, as they can pause, replay, and revisit elements of the text which in turn improves their comprehension of the text (Walker-Gleaves & Waugh, 2018, p. 113).

Sign language narration is included (Kiwa Digital, n.d.).
Sign language narration is included (Kiwa Digital, n.d.).

The app also has a colouring-in function, where the illustrations change to greyscale and the child can colour them by running their fingers over the illustrations. This function is hidden behind the Puffin logo and is not distracting while you are reading the story. However, this digital enhancement does not “deepen conceptual knowledge” of the story or its characters (McGeehan et. al., 2018, p. 63), making this feature superfluous to the story itself.

Colouring-in the illustrations is an additional feature (Kiwa Digital, n.d.).
Colouring-in the illustrations is an additional feature (Kiwa Digital, n.d.).

While the suite of digital features discussed so far are advantageous to early readers, it could be argued that the creators have not taken full advantage of the digital features available to them. Junko Yokota and William H. Teale state that digital books that employ a similar suite of features, such as the “Living Books” adaptation of Just Me and My Mum, employ “minimal digital affordances that could enhance the reading experience” (2014, p. 581). The Hairy Maclary from Donaldson’s Dairy app could have added digital enhancements that align with the text, such hotspots within the illustrations where the reader opens the gate on each page to let the dog out. Such interactive elements would align with the story and support comprehension (Hoel & Jernes, 2023, p. 12).

 

While the addition of more interactive features would enhance this app even further, the Hairy Maclary from Donaldson’s Dairy app in its current form provides more opportunities for children to access literature independently than they could with the book alone. The scaffolded reading cues, narration, subtle digital enhancements of the illustrations, and sign language in this digital reproduction gives the reader an experience that cannot be replicated in the print version of the text.

 

References

Dodd, L. (2005). Hairy Maclary From Donaldson’s Dairy. Puffin Books.

Hoel, T., & Jernes, M. (2023). Quality in children’s digital picture books: seven key strands for educational reflections for shared dialogue-based reading in early childhood settings. Early Years. https://doi.org/10.1080/09575146.2023.2172552

Kiwa Digital. (n.d.). Hairy Maclary from Donaldson Dairy. https://www.kiwadigital.com/showcase/hairy-maclary-from-donaldsons-dairy/

McGeehan, C., Chambers, S., & Nowakowski, J. (2018). Just Because It’s Digital, Doesn’t Mean It’s Good: Evaluating Digital Picture Books. Journal of Digital Learning in Teacher Education34(2), 58–70. https://doi.org/10.1080/21532974.2017.1399488

Takacs, Z. K., Swart, E. K., & Bus, A. G. (2014). Can the computer replace the adult for storybook reading? A meta-analysis on the effects of multimedia stories as compared to sharing print stories with an adult. Frontiers in Psychology, 5, Article 1366. https://doi.org/10. 3389/fpsyg.2014.01366

Walker-Gleaves, C. & Waugh, D. (2018). Looking After Literacy: A Whole Child Approach to Effective Literacy Interventions. SAGE Publications.

Yokota, J., & Teale, W. H. (2014). Picture Books and The Digital World: Educators Making Informed Choices. The Reading Teacher67(8), 577–585. https://doi.org/10.1002/trtr.1262

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