Author: Bianca Bertalli

Topic:

Students will create an interactive website allowing preschool students to follow a character around a map of their prospective primary school (GGPS), introducing them to spaces and routines.

Platform:

This digital storytelling project will utilise Canva’s website building function, which is free to access, able to be published and made accessible for viewing with a URL.

Rationale:

This digital storytelling project will support learning in both English and Geography for Stage 3 (Year 5 & 6 students). The English creating written texts outcome of EN3-CWT-01 English will be addressed as students ‘…choose multimodal features suited to a target audience and purpose… [and create] hybrid texts for target audiences, use print or digital tools…’ (NSW Education Standards Authority [NESA], 2024). Further, students will use Geographical tools such as maps, photography, satellite images, multimedia and web tools to work towards the Stage 3 Geography Outcomes of GE3-1 and GE3-2 (NESA, 2024).

The proposed audience is children, and families, new to GGPS. The websites will be used as social stories that support students’ transition to the primary school learning environment. The digital story will be able to be accessed online, as well as face-to-face in a library open day event where Year 6 buddies and preschool students will be able to navigate the web page together.

While students have previously used Canva to create posters, this will be the first time they have engaged in a small-group, collaborative project to co-create a multimodal text. While engaging in this project, students will learn to hyperlink content, insert and format their own photography and text, and maintain a consistent character voice throughout.

References:

Canva (2024) Canva [Web App]. https://www.canva.com/

NSW Education Standards Authority (2024) English K–10 Syllabus. https://curriculum.nsw.edu.au/learning-areas/english/english-k-10-2022/content/stage-3/fae233967c

NSW Education Standards Authority (2015) Geography K–10 Syllabus. https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/hsie/geography-k-10 

Synopsis:

While fractured fairy tales have long been a way for students to examine known plots from alternate perspectives, Twisted Tales, an app developed by the Institut Za Transmedijski Dizajn Murska Sobata (Institute for Transmedia Design/ ITD, 2023) aims to support children to develop ‘…empathy [and] … recognise, understand and accept others’ feelings and needs…’, (para. 7, Apple Inc., 2024). McDonald (2023) explains that although fairy tales have been linked to quality children’s literature over the past two centuries, these stories were originally an oral traditional, generally shared with an educative purpose. Following this custom, the Twisted Tales (ITD, 2023) app was first developed as a set of audiobooks that children can independently access, by clicking on aesthetically rendered character icons. Stories indicate a target age of between 6 and 12 years and run for 10-20 minutes each. The 5 twisted fairy tales include Cinda Real– the story of a girl experiencing bullying for a physical disability, New Hansel and Gretal– the tale of how two siblings cope with the grief, Allen and the Magic Lamp- the journey of the boy who wished he was a fashion designer, instead of a footballer, Desiree and the Snow Queen– detailing how a child with Down’s Syndrome learns to forge new friendships and Little Red (Bianca) and the Wolf- the fable of a young woman overcoming intimidation. McDonald (2023) acknowledges the value in students assuming a text analyst role to compare and contrast fractured fairy tales with their traditional counterparts, and examine complex themes such as gender, power or justice, through quality children’s literature. Interestingly, the app’s development was funded by the European Union’s Erasmus+ program (in conjunction with the Ministry of Culture of the Republic of Slovenia and the Centre for Creativity) whose purpose is to support education, sport and youth, with a particular focus on social inclusion and digital transformation, among other progressive goals (European Commission, n.d.).

Value Added to the Narrative through Digital Delivery:

When evaluating the app as a digital literature artifact, Yokota & Teale (2014) suggest carefully examining the value that the digital platform adds to the narrative. In the case of Twisted Tales (IDT, 2024), the simplicity of the app suits the younger end of the recommended age range, allowing them to access the story easily. The audiobook format provides opportunities for modelled reading, complex vocabulary and a narrative structure that supports learning to read (Haines, 2015). The latest version of the Twisted Tales (IDT, 2023) app has also integrated a ‘create’ option, allowing users to develop their own story or oral response. While this feature is only a basic recording tool that allows users to recount their own oral version of the story of up to 10 minutes and save it within the app, Kearney (2010) suggests that by transferring the role of ‘listener’ to the parent or teacher, and ‘storyteller’ to the child, children are able to engage in ‘…reflective dialogue…’ that deepens their understanding of complex themes, such as those in Twisted Tales (ITD, 2023) (para. 2, p.182).

User Experience and Functionality:

Haines (2015) Story Apps evaluation rubric suggests that children’s apps must be assessed for their functionality as well as the quality of the narrative itself. The app presents as an uncluttered and easy to navigate format that and accessibility is further enhanced with adjustable font size settings. Simple icons help children (and their grown up) to navigate home, or to app and privacy information, support and settings. In the settings, the app acknowledges the privacy concerns faced by parents and reiterates the commitment to not collect and share privacy data  outlined in Apple’s review (Apple Inc., 2024). Accessibility is also enhanced with the Twisted Tales (IDT, 2023) app itself is free to download with no in-app ads or purchases. It can also be used in an offline setting without a Wi-Fi connection.

Limitations and Areas for Further Consideration:

While there are many positive features, the app does have some constraints. The most obvious is that the app does not engage multimodal elements or include interactivity, while the story is being told. While this may enhance the focus of the reader, it also has the potential to limit opportunities to further build digital literacy.  (Combes, 2016; Yokota & Teale, 2014). Given the app originates in Slovenia, the stories are available in English, Slovene, Croatian and Sebian, which Yokota & Teale (2014) argue may enhance children’s intercultural understanding through exposure to various languages. That being said, at times the English transition of the story results in some grammatical errors such as mixed tense or ambiguous translations. Finally, although the Apple Inc. (2024) app review boasts that Twisted Tales (IDT, 2023) includes a toolkit for parents and educators to have meaningful conversations and explore the complex themes together, there is no feature in the app that prompts this to occur.

Evaluative Summary:

Overall, Twisted Tales (IDT, 2023) is a simple digital storytelling app that encourages children to examine the experiences of diverse characters, in the hopes of fostering social inclusion. The app has scope in which to expand and improve upon its interactivity and engagement, but on the whole the user experience is straightforward and entertaining.

References:

Apple Inc. (2024). App Store Preview: Twisted Tales. https://apps.apple.com/us/app/twisted-tales/id6449082379

Combes, B. (2016). Digital literacy: A new flavour of literacy or something different? Synergy, 14(1).  https://slav.vic.edu.au/index.php/Synergy/article/view/v14120163

European Commission. (n.d.). Erasmus+ EU programme for education, training, youth and sport. https://erasmus-plus.ec.europa.eu/about-erasmus/what-is-erasmus

Haines, C. (2015).  Evaluating Apps and New Media for Young Children: A Rubric. https://lib.nckls.org/wp-content/uploads/2017/11/05_Evaluating-Apps-Rubric.pdf

Kearney, M. (2011). A learning design for student‐generated digital storytelling. Learning, Media and Technology, 36(2), 169–188. https://doi.org/10.1080/17439884.2011.553623

Institut Za Transmedijski Dizajn Murska Sobata. (2023). Twisted Tales (Version 6). [iPad App]. Apple Store. https://apps.apple.com/us/app/twisted-tales/id6449082379

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: Educators making informed choices. The Reading Teacher, 67(8) 577-585.

Synopsis:

Choose Your Own Adventure novels, described by publisher Chooseco (n.d.) as ‘…the original and best-known gamebooks…’ (para. 1), offered readers the chance to influence the plot, however the rapidly changing infosphere has triggered the emergence of new literary genres and a previously unseen level of literature interactivity (McGill, 2022; Tan & Chik, 2022). Dark Citadel (LC Publishing, n.d.) is an interactive fiction (IF) that preserves the oral tradition of storytelling- with a contemporary twist. The audio story is delivered digitally through the Amazon Alexa speech AI platform. Designed by Ryan Jordan, pen-named Lincoln Cole, Dark Citadel (LC Publishing, n.d.), is a byproduct of technology and the arts, which Alderman (2015) believes is a signifier of brilliant contemporary digital literature. Cole, a science-fiction and horror writer first, attributes his love of gaming in leading him to a career as a software developer (Amazon.com, Inc, 2022). Cole used the Amazon Alexa platform to combine his creative writing and computer skills in a 2016 competition and created a digital storytelling experience that has grown beyond what he had ever imagined (LlitD, 2024). Initially a simple interactive audiobook, Dark Citadel (LC Publishing, n.d.), has evolved into a multimodal, immersive narrative experience.

Value Added to the Narrative through Digital Delivery:

Dark Citadel (LC Publishing, n.d.) is referred to by Cole interchangeably as a novel and a game, indicating the difficulty that some might have with classifying this digital literature artefact. However, McGill (2022) believes that debate should no longer centre around whether games can tell stories, but rather how well it is done. As an intersection between IF and gameplay, narrative based video games challenge traditional definitions of quality literature (Alderman, 2015; McGill, 2022). Dark Citadel (LC Publishing, n.d.) reads like an IF story; it is released in chapters and narrated in the second person and is defined by opportunities for the reader to make decisions and influence the plot. It is also enhanced with character voices, sound effects and epic music. However, the trait that truly sets this digital literature apart, is its evolutionary arc as a digital format; Dark Citadel (LC Publishing, n.d.) is driven by user analytics. As readers provide feedback and suggestions to Cole, updated versions of the story are expanded. More recent updates include adding game based options such as real time viewable leaderboards, a chat function to allow readers to interact while playing, 2,000 bespoke sound effects, 7,000 exclusive images and various monetised add-ons to enhance individual character strengths and alter play (Alexa Developers, 2023). Dark Citadel (LC Publishing, n.d.) can certainly be described as a transmedia storytelling experience that places the reader as the protagonist (Transmedia Storytelling, 2016). Currently, readers can choose to remain playing in an aural only context, engage in the story on screen or broaden their experience to a metaverse inhabited by reader avatars. Combes (2016) recognises that information complexity and density are a ubiquitous characteristic of the World Wide Web, and Dark Citadel (LC Publishing, n.d.) has certainly evolved to layer many modes of meaning; building the narrative for, and in response to, its readers.

User Experience and Functionality:

When assessing the digital storytelling platform against evaluative criteria that attends to the user experience, such as Haine’s (2015) story app evaluation rubric, Dark Citadel (LC Publishing, n.d.) performs well. Although the rubric is directed towards apps for young readers, the evaluative criteria is applicable to a broader variety of digital storytelling formats. According to Cole (LlitD, 2024), the program has undergone thousands of updates in response to user analytics, including debugging suggestions from readers, ensuring that it is a mostly glitch free experience. Dark Citadel (LC Publishing, n.d.) is accessible in a variety of formats to suit user needs and abilities and an unintended benefit of the voice AI platform is exceptional accessibility for readers with a visual impairment or low-level literacy (Alexa Developers, 2023). Dark Citadel (LC Publishing, n.d.) remains free to use as both an Alexa voice AI IF story and an on-screen experience maximising access.

Evaluative Summary:

In terms of its ability to use the digital platform to enhance the story, McGill (2022) explains that the nature of the decision making embedded within the game, should logically increase reader engagement. This rings true for Dark Citadel (LC Publishing, n.d.) which has users from around the world, engaging in more than 4000 virtual places and spaces within the story, as well as the real world. Additionally, over time the IF characteristics of the story have evolved from deciding on varying plot paths, to deciding where and how to be immersed in the story as a complex multimodal, virtual environment. Lincoln Cole has produced a stellar example of digital literature. Dark Citadel (LC Publishing, n.d.) is reflective of the evolving nature of literature in a dynamic information environment, while still ensuring that captivating narrative is at the heart of the transmedia storytelling experience.

References:

Alderman, N. (2015, October 13). Dark Citadel (LC Publishing, n.d.) https://www.theguardian.com/technology/2015/oct/13/video-games-digital-storytelling-naomi-alderman

Alexa Developers. (2023, Sep 28). Creating interactive stories with Alexa: LC Publishing. https://www.youtube.com/watch?v=gzF66OG_xog

Amazon.com, Inc (Staff Writer). (2022, Mar 24). How LC Publishing used the Alexa Web API to take The Dark Citadel to the next level. https://developer.amazon.com/en-US/blogs/alexa/alexa-skills-kit/2022/03/lc-publishing-web-api-2022

Choose Your Own Adventure. (n.d.) Choose your own adventure: about us. https://www.cyoa.com/?srsltid=AfmBOop7sAclJXLLjaDEBYxosSaMh0cZ4YD58q0QQxzfxDgPbPJ61exs

LC Publishing. (n.d.). The Dark Citadel [Alexa Skill Game]. Amazon Skills. https://www.amazon.com.au/LC-Publishing-The-Dark-Citadel/dp/B079MH4L12

LlitD. (2024). Last light in the dark: horror, sci-fi, & fantasy stories by Lincoln Cole. Will we find our way through? https://llitd.com

McGill, K. M. (2022). The digital lineage of narrative: analyzing interactive fiction to further understand game narrative. In Bostan, B. (2022). Games and narrative: theory and practice (pp. 77-90). Springer.

Tan, L. & Chik, A. (2022). Between worlds: Extending students’ multimodal literacy practices with augmented reality. Primary English Teachers Association.

Transmedia Storytelling. (2016, January 26). Ep 71: Learning in the wild with transmedia storytelling: How to use transmedia storytelling for informal and blended learning [Audio podcast]. Podomatic. https://www.podomatic.com/podcasts/transmedia/episodes/2016-01-26T05_46_28-08_00

Two-Gun Pixie. (2020, Apr 6). Gaming with Alexa – the Dark Citadel (Chapter 1). https://www.youtube.com/watch?v=Va_zhvNscZs

University of Houston. (2013). Educational uses of digital storytelling: What is digital storytelling? http://digitalstorytelling.coe.uh.edu/page.cfm?id=27&cid=27

Synopsis:

This was the question that I found myself asking as I happened upon Zany Begg’s (2018) provocative video installation, The Beehive. I had ducked into a pop-up exhibition by the Australian Centre for the Moving Image (AMCI), while sheltering from an inclement storm, when I found an artwork that offered me headphones to listen, a screen to watch and a printed caption which offered me further context for the experience I was about to be immersed in. The Beehive (Begg, 2018)  presents the audience, or perhaps ‘reader’ given that Munro (2018) labels the installation as a ‘…narrative by algorithm…’ (para. 7), with a true crime recount of events unfolding around Australian activist, and unsolved murder victim, Juanita Nielsen. The AMCI (2018) describes the artwork as an ‘…experiential documentary…’ (para. 1), due to its most distinguishing attribute; the artwork’s video sequence is driven by a bespoke software algorithm that randomly selects from a large bank of scripted scenes, archived interviews, and curated settings. This results in the viewer actively constructing meaning from one of 1344 possible versions of the story, as the viewer interprets the chance visual symbolism and figurative language presented in their viewing (ACMI, 2018).

Literature Redefined:

When considering the evolving definition of literature, it is vital to remember that quality literature has traditionally been classified as such by the complex themes woven through its narrative structures as well as its potential to engage readers’ imagination, develop their inferential comprehension and reflect the enduring human experience (McDonald, 2023). The Beehive challenges viewers to consider themes including justice, feminism, activism, corruption, gentrification, colonisation and violence through layered and non-linear storylines, various characters, settings and dialogue. With these characteristics in mind, The Beehive, certainly fits within the realm of quality literature. Additionally, as Lamb (2011) redefines reading as the process of constructing meaning from symbols across various media, it could be argued that reading is actually an integral process embedded into The Beehive (Begg, 2018), despite limited printed words.

Value Added to the Narrative through Digital Delivery:

This artwork, and its quality as a piece of digital literature, must be assessed by evaluating what is gained by the reader experiencing Juanita Neilsen’s story through this transmedia format, rather than the traditional print format. Feslier (2018) explains that the ‘… fragmented, non-linear approach prevents the viewer from seeing the whole picture, or fully resolving their own interpretation of events; after all, the case remains open…’ (para. 2) and perhaps it is this deliberately unresolved experience that elicits an emotional unease that may not have been fully possible in a traditionally linear, print text. As suggested by McDonald (2023), the multimodal nature of the artwork works to enhance the readers’ experience and engage the senses. It also allows the reader to accumulate inferential understanding of the time and place the story occurred and the broader socio-political context of Sydney in the 1970’s (Munro, 2018). Another interesting choice of the artist was to cast 12 women of varying nationalities as the protagonist, Juanita Neilsen. Munro (2018) believes this allows the viewer to extend their reflection of the social issues faced by Neilsen, to today’s diverse communities of women. This creative choice, and additional layer of meaning, was only possible due to the multimodal nature of the digital text.

Limitations and Areas for Further Consideration:

While I would consider The Beehive (Begg, 2018)  an exemplar of digital storytelling, there are also some limitations to it. Firstly, the story is unlikely to be experienced by anyone who does not enter a contemporary art gallery space and is therefore subject to the matter of equity of access. Citizens in remote areas, older generations, First Nations peoples and those from low-socio economic cohorts are statistically more likely to be considered digitally excluded from various forums and the inclusion of this artwork within a specific cultural space may exacerbate this isolation (Bentley & Naughtin, 2024). Similarly, Alderman (2015) points out that location- based storytelling is generally a limiting characteristic of non-digital literature and while Zany Begg’s (2018) artwork is digital, it is in fact limited by physical location.

Secondly, while it is likely a deliberate choice of Begg’s, the reader has no control in navigating the story at any point- even having to begin the narrative at whatever point in time they enter the exhibition. There is essentially no user functionality beyond choosing to participate. The viewer cannot turn a page or pause the video to engage in the story at their own pace. They cannot choose to explore characters or revisit settings that may intrigue them. This lack of interactivity and control may result in the reader feeling disempowered or disengaged (Lamb, 2011).

Finally, given that there are 1344 versions of The Beehive (Begg, 2018) to view, readers may be unable to share their interpretation with other participants and enhance their understanding through social discourse, for example, to the same extent that two people viewing the same film together or two people reading a book in a book club might do (Huang, 2012). As case in point, Munro (2018) describes the 3 extremely different stories she was presented with, during her own 3 viewings of The Beehive (Begg, 2018).

Evaluative Summary:

Overall, The Beehive (Begg, 2018) is a powerful story, carefully told across multiple modes. While a piece visual art may have previously been considered as a cultural object reflective of its context in its own right, transmedia literature has challenged readers to reimagine an artwork such as Begg’s (2018) The Beehive, to also be classified as quality, contemporary digital literature.

References:

Australian Centre for the Moving Image. (n.d.). Digital storytelling [Video]. http://www.acmi.net.au/dst_about.htm

Australian Centre for the Moving Image. (n.d.). Zanny Begg: The beehive exhibition. https://www.acmi.net.au/whats-on/zanny-begg-beehive/

Begg, Z. (2018). The beehive. [Digital video, stereo sound, variable duration]. Artbank + ACMI Commission. Australia.

Bentley, S. & Naughtin, C. (2024, March). The ‘digital divide’ is already hurting people’s quality of life. Will AI make it better or worse? CSIRO. https://www.csiro.au/en/news/all/articles/2024/march/digital-divide-ai

Feslier, L. (2018, October 3). Zanny Begg’s “The beehive”. ArtAsiaPacific. https://artasiapacific.com/shows/zanny-begg-s-the-beehive

Huang, H. (2012). E-reading and e-discussion: EFL learners’ perceptions of an e-book reading program. Computer Assisted Language Learning, 26(3), 258–281. https://doi.org/10.1080/09588221.2012.656313

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and leading with technology, 39(3), 12-17. https://scholarworks.iupui.edu/bitstream/handle/1805/8636/39-3.pdf?sequence=1&isAllowed=y

McDonald, L. (2023). A new literature companion for teachers; teaching mentor texts (3rd ed.). Primary English Teachers Association (PEETA).

Munro, K. (2018, September 18). The Beehive, a documentary in 1,344 versions, explores the unsolved murder of Juanita Nielsen. https://theconversation.com/the-beehive-a-documentary-in-1-344-versions-explores-the-unsolved-murder-of-juanita-nielsen-103156

Literature trends in schools have changed significantly in my time as a teacher. Over the past decade I have watched as Joy Cowly style ‘big books’ have slowly been stripped from infant classrooms, along with their silly storylines and shared reading style, as the whole language approach to literacy has been deemed obsolete. At the same time eBoards began to take centre stage for modelled decodable reading experiences and synthetic phonics lessons. On book shop shelves and online, new genres have emerged and grown in popularity to respond to new interests. However despite literature options and formats broadening outside the classroom, early reading instruction in many schools now seems so focused on the ‘how to of decoding’ print. Lamb (2011) suggests that for students’ overall reading skills, stamina and engagement with texts for enjoyment to continue to improve, the old definitions of ‘reading’ and ‘books’ must be reassessed.

In 2012, as an eary career teacher of Kindergarten teacher, I experienced a cohort of students that tried to swipe their mini whiteboards to switch them on- much like Jabr’s (2013) ‘A Magazine is an iPad’ child. The group of 5 year olds were almost perplexed that I was requiring them to make their own meaning with a whiteboard marker. It became a professional core memory as I began to ponder the implications of students who may have been exposed to iPads earlier, and at a greater rate, than physical books. I wondered how this would impact thier literacy aquisition, and in the back of my mind, I worried whether physical  books were becoming a thing of the past. As an inner city public school teacher, I also began to consider how the ‘digital divide; would further fuel inequality. I struggles with how to harness technology to enhance learning, as suggested by Felvegi & Matthew (2012), rather than for the sake of iterating change.

Fast forward to 2023, where my initial reflections as a teacher librarian in training where I was confronted with the way that the role had changed to reflect the information landscape (Bertalli, 2023). Shockingly (to me at least) I wasn’t entering into a profession that sourced and organised physical books, inspiring a deep and transformative love of literature,  but rather the role now demanded that I innovativly enable the free flow of information to diverse library patrons, through an ever evolving scope of media. To be honest, I wasn’t sure I was suited to the task. Transliteracies and transmedia were unfamiliar concepts. and although I am now halfway through the course, I still continually grapple with how I can bring a truly hybrid collection to fuition in our own rural, school library.

This course has continually required me to reflect on my own reading and learning habits as well as my professional practice. As I have learnt about how storytelling and literature have evolved over time, I have begun to realise that narratives are structured to reflect the social context of their time, as suggested by Mills (2006). The internet age has allowed us to not only easily consume information but also instantly create content. This has enabled literature to be reimagined as an interactivce process. I have only just begun to scratch the surface of the technical platforms and applications that support literature in digital environments, however my first ‘ah-ha’ moment occured as I realised that we must stop limiting our notion of quality literature to narratives with a linear orientation, complication and solution pattern in our classroom discussions. Lamb (2011) points out that it is not unusual for stories to start at the ending and slowly uncover critical elements, allowing the reader to reconstruct the plot. Digital stories can provide alternate endings or hyperlinked narrative pathways. Characters can tell their stories concurrently, with point of views exsisting side by side or across time. Augmented or virtual reality may allow the reader to set the pace, or experience the setting in a unique way. Multimodal texts purposefully and deeply layer meaning through carefully curated, multisensory experiences.

Perhaps the reading skills and stamina of my students are not stagnant or on the decline, and instead students are interacting with literature in ways I hadn’t thought to look for. How do I tap into this as a teacher librarian through both a responsive and supportive collection development cycle? This is the first subject that seems to tie together my love of literature and bring it to a place that meets the needs and interests of so many of my students. It is exciting, daunting and also freeing.

References:

Bertalli, B. (2023). Teacher librarians its time to renew our role. https://thinkspace.csu.edu.au/bbertalli/2023/03/08/teacher-librarians-its-time-to-renew-our-role/

Flevegi, E., & Matthew, K. I. (2012). eBooks and literacy in K-12 schools. Computers in the Schools, 29(1-2), 40-52. https://doi.org/10.1080/07380569.2012.651421

Jabr, F. (2013). The reading brain in the digital age: The science of paper versus screens. Scientific American. http://www.scientificamerican.com/article/reading-paper-screens/

Lamb, A. (2011). Reading redefined for a transmedia universe: Once upon a time, reading was as simple and straightforward as decoding words on a page. No more. Digital age technologies have made such an impact on the way we interact with content that the old definitions of reading and books no longer apply. Learning and leading with technology, 39(3), 12-17. https://scholarworks.iupui.edu/bitstream/handle/1805/8636/39-3.pdf?sequence=1&isAllowed=y