{"product_id":"interactive-narratives-and-transmedia-storytelling-9781138638822","title":"Interactive Narratives and Transmedia","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eInteractive Narratives and Transmedia Storytelling\u003c\/em\u003e provides media students and industry professionals with strategies for creating innovative new media projects across a variety of platforms. Synthesizing ideas from a range of theorists and practitioners across visual, audio, and interactive media, Kelly McErlean offers a practical reference guide and toolkit to best practices, techniques, key historical and theoretical concepts, and terminology that media storytellers and creatives need to create compelling interactive and transmedia narratives. McErlean takes a broad lens, exploring traditional narrative, VR and AR, audience interpretation, sound design, montage, the business of transmedia storytelling, and much more.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eWritten for both experienced media practitioners and those looking for a reference to help bolster their creative toolkit or learn how to better craft multi-platform stories, \u003ci\u003eInteractive Narratives and Transmedia Storytelling \u003c\/i\u003eserves as a \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"In an age of ubiquitous social media, interaction is the new normal. Pitched precisely on the leading edge of media theory\/practice and industry\/academy interests, \u003ci\u003eInteractive Narratives and Transmedia Storytelling\u003c\/i\u003e is a best-of-both-worlds, how-to guide for practitioners (AKA creatives) across the relevant multidisciplinary and cross-platform fields of research, pedagogy and commercial production. Grounded in a confident, non-jargonistic understanding of narrative (and narration and narratology), this book deep-mines scholarly explanation of the customarily closed-circuit of ‘classical’ (linear-consequential) and non-linear (avant-garde) storytelling in TV, cinema, photography and fine art, in order to apply key conceptual insights, tools and techniques to the aesthetic practice of making of innovative digital forms, open to two-way and multilinear fictive plotting. Staying current with fast-changing genres and supporting technologies will of course always be tricky. To that end it is surely wise, as in this instance, to situate the work conceptually and in relation to a range of writers and approaches. In debt to the modernist praxis of pioneers such as Brecht as well as the example of Hollywood auteurs, notably Hitchcock, the reader will appreciate McErlean’s skilled use of recurring focus on key objects of analysis, illuminated through a critical compass of perspectives and practices.\"\u003c\/p\u003e\u003cp\u003e—Dr. David E. Butler, Independent Academic Consultant (University of Cumbria Institute of the Arts)\u003c\/p\u003e\u003cp\u003e\"A storytelling future has arrived and here is its Book of Revelation. McErlean shows us how, five centuries on from Caxton, we can engage with new technologies to transform the familiar immersive experience in ways previously only imagined, and be inspired to connect anew both inside and outside of ourselves.\"\u003c\/p\u003e\u003cp\u003e—Dr. Daniel Meadows, Photographer\/Viusal Storyteller; Former Lecturer at Cardiff School of Journalism, Media and Cultural Studies\u003c\/p\u003e\u003cp\u003e\"The digital world is full of paradox; reading is crucial to master its development. If you want to be serious about interactive narratives and transmedia storytelling, this book is for you. The author is adamant about it: ‘Reading is not always easy as many worthwhile texts require significant effort to get through . . . I have always promoted the importance of critically analysing narrative texts.'\"\u003c\/p\u003e\u003cp\u003e—Nathalie Labourdette, Head of EBU Academy – EBU Geneva\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"In an age of ubiquitous social media, interaction is the new normal. Pitched precisely on the leading edge of media theory\/practice and industry\/academy interests, \u003ci\u003eInteractive Narratives and Transmedia Storytelling\u003c\/i\u003e is a best-of-both-worlds, how-to guide for practitioners (AKA creatives) across the relevant multidisciplinary and cross-platform fields of research, pedagogy and commercial production. Grounded in a confident, non-jargonistic understanding of narrative (and narration and narratology), this book deep-mines scholarly explanation of the customarily closed-circuit of ‘classical’ (linear-consequential) and non-linear (avant-garde) storytelling in TV, cinema, photography and fine art, in order to apply key conceptual insights, tools and techniques to the aesthetic practice of making of innovative digital forms, open to two-way and multilinear fictive plotting. Staying current with fast-changing genres and supporting technologies will of course always be tricky. To that end it is surely wise, as in this instance, to situate the work conceptually and in relation to a range of writers and approaches. In debt to the modernist praxis of pioneers such as Brecht as well as the example of Hollywood auteurs, notably Hitchcock, the reader will appreciate McErlean’s skilled use of recurring focus on key objects of analysis, illuminated through a critical compass of perspectives and practices.\"\u003c\/p\u003e\u003cp\u003e—Dr. David E. Butler, Independent Academic Consultant\u003c\/p\u003e\u003cp\u003e\"A storytelling future has arrived and here is its Book of Revelation. McErlean shows us how, five centuries on from Caxton, we can engage with new technologies to transform the familiar immersive experience in ways previously only imagined, and be inspired to connect anew both inside and outside of ourselves.\"\u003c\/p\u003e\u003cp\u003e—Dr. Daniel Meadows, Photographer, Writer, Documentarist; Pioneer of Participatory Media\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eWho is this Book For?\u003c\/li\u003e\n\u003cli\u003eDefining Interactive Narratives and Transmedia Stories\u003c\/li\u003e\n\u003cli\u003eThe Author\u003c\/li\u003e\n\u003cli\u003eNew Modes of Storytelling\u003c\/li\u003e\n\u003cli\u003eA Summary of the Chapters\u003c\/li\u003e\n\u003cli\u003eCommercial Imperative\u003c\/li\u003e\n\u003cli\u003eThe Command to Read\u003c\/li\u003e\n\u003cli\u003eLateral Thinking\u003c\/li\u003e\n\u003cli\u003ePitching your Idea\u003c\/li\u003e\n\u003cli\u003eDeveloping an Ideas Book \/ Visual Diary\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eTraditional Narrative Texts \u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eTalking Pictures - Finding Narrative in Photography\u003c\/li\u003e\n\u003cli\u003eGeometry in Photo Composition\u003c\/li\u003e\n\u003cli\u003eStory Sequences in Stills\u003c\/li\u003e\n\u003cli\u003ePedro Meyer’s \u003ci\u003eThe Illusion of Real Space\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eNavigating Linear Texts\u003c\/li\u003e\n\u003cli\u003eVerisimilitude\u003c\/li\u003e\n\u003cli\u003eBrechtian Realism\u003c\/li\u003e\n\u003cli\u003eAristotle’s \u003ci\u003ePoetics\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eHogarth’s \u003ci\u003eA Rake’s Progress\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eBaudelaire’s \u003ci\u003el'Art mnemonique\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eFilm Editing - Walter Murch\u003c\/li\u003e\n\u003cli\u003eThe Rule of Six\u003c\/li\u003e\n\u003cli\u003eThe 3rd Effect\u003c\/li\u003e\n\u003cli\u003eEisenstein’s Diagrammatic Score\u003c\/li\u003e\n\u003cli\u003ePrecipitant Sounds \u003c\/li\u003e\n\u003cli\u003eEmbodied Sounds\u003c\/li\u003e\n\u003cli\u003eNarrative Progression\u003c\/li\u003e\n\u003cli\u003eInterpreting the Author’s Intent\u003c\/li\u003e\n\u003cli\u003eNarrative Reality versus Audience Reality\u003c\/li\u003e\n\u003cli\u003eText on Screen\u003c\/li\u003e\n\u003cli\u003eConstructing a Storyline\u003c\/li\u003e\n\u003cli\u003eNarrative Distance, Depth and Alignment\u003c\/li\u003e\n\u003cli\u003eBazin’s Invisible Witness\u003c\/li\u003e\n\u003cli\u003eStory Rhythm - the Haiku\u003c\/li\u003e\n\u003cli\u003eSilent Era Techniques \u003c\/li\u003e\n\u003cli\u003eBonitzer on Hitchcock\u003c\/li\u003e\n\u003cli\u003eThe Macguffin\u003c\/li\u003e\n\u003cli\u003eZizek on Hitchcock\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eSubjective Interpretation\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eNarrative Perspectives\u003c\/li\u003e\n\u003cli\u003e \u003ci\u003eEntgrenzung: \u003c\/i\u003eThe Dissolution of Perspectival Boundaries\u003c\/li\u003e\n\u003cli\u003eLinguistic Flexibility: Blending Words into Chords\u003c\/li\u003e\n\u003cli\u003eNarrative Deconstruction\u003c\/li\u003e\n\u003cli\u003eThe Loop: IF, THEN, GOTO\u003c\/li\u003e\n\u003cli\u003eCause and Effect\u003c\/li\u003e\n\u003cli\u003eRelinquishing Authorial Control\u003c\/li\u003e\n\u003cli\u003eAttentional Blink\u003c\/li\u003e\n\u003cli\u003eConfabulation: Emotional Experiences Without Context\u003c\/li\u003e\n\u003cli\u003eEvolving Language\u003c\/li\u003e\n\u003cli\u003eCalvino: the Malleable Relationship between Reader and Narrator\u003c\/li\u003e\n\u003cli\u003eSubjective Responses to Colour and Form\u003c\/li\u003e\n\u003cli\u003eActive and Passive Colours\u003c\/li\u003e\n\u003cli\u003eEmotional Responses to Colour\u003c\/li\u003e\n\u003cli\u003eDigital and Analogue Colour Palette\u003c\/li\u003e\n\u003cli\u003eInstinctual Responses to Geometric Forms\u003c\/li\u003e\n\u003cli\u003eThe Will-to-Art\u003c\/li\u003e\n\u003cli\u003eKnowing Your Audience\u003c\/li\u003e\n\u003cli\u003eControlling the Narrative \/ Owning the Text\u003c\/li\u003e\n\u003cli\u003eKandinsky’s Chain of Related Sensations\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eSound Design\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003ePrimal Responses to Sound \u003c\/li\u003e\n\u003cli\u003eClassifying Harmonics in Terms of Emotional Response\u003c\/li\u003e\n\u003cli\u003eNarrative Soundscapes\u003c\/li\u003e\n\u003cli\u003eAffective Audio\u003c\/li\u003e\n\u003cli\u003eCueing-In Emotions\u003c\/li\u003e\n\u003cli\u003eSeparating Dialogue from Background Noise\u003c\/li\u003e\n\u003cli\u003eProsody and Syntax \u003c\/li\u003e\n\u003cli\u003eMusical Motifs\u003c\/li\u003e\n\u003cli\u003eRepresentations of Emotions\u003c\/li\u003e\n\u003cli\u003eUniversal ‘Palette’ of Sound \u003c\/li\u003e\n\u003cli\u003eMemories of Feelings - the Limits of the Codification of Musical Forms\u003c\/li\u003e\n\u003cli\u003eAnticipation and Resolution\u003c\/li\u003e\n\u003cli\u003eRhythmic Organisation and ‘Percussive Barriers’\u003c\/li\u003e\n\u003cli\u003ePsychological and Ontological Time\u003c\/li\u003e\n\u003cli\u003eMusical Notation\u003c\/li\u003e\n\u003cli\u003eAccidental Counterpoint\u003c\/li\u003e\n\u003cli\u003eCommunicating Emotion through Music\u003c\/li\u003e\n\u003cli\u003eSyncopation\u003c\/li\u003e\n\u003cli\u003eThe Soundtrack\u003c\/li\u003e\n\u003cli\u003eCinematic Allusionism\u003c\/li\u003e\n\u003cli\u003eSound Elements of Film\u003c\/li\u003e\n\u003cli\u003eImitative-Denotative Instrumentation\u003c\/li\u003e\n\u003cli\u003eLimitations of Visual and Dialogue\u003c\/li\u003e\n\u003cli\u003eLeitmotif\u003c\/li\u003e\n\u003cli\u003eEmpathetic \/ Anempathetic Soundtracks\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eVisual Montage\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eMontage: Juxtaposing Visual Elements\u003c\/li\u003e\n\u003cli\u003eAffidavit-Exposition\u003c\/li\u003e\n\u003cli\u003eVertical Montage\u003c\/li\u003e\n\u003cli\u003ePhoto Montage: Hockney’s Joiners\u003c\/li\u003e\n\u003cli\u003eBurroughs’s Literary Cut-Ups\u003c\/li\u003e\n\u003cli\u003eThe Lettrists\u003c\/li\u003e\n\u003cli\u003eBrueghel’s Micronarratives\u003c\/li\u003e\n\u003cli\u003eMarker’s \u003ci\u003eLa Jetée\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eSpatial Representation of Temporal Sequences\u003c\/li\u003e\n\u003cli\u003eMultiple Narrative Perspectives On-Screen\u003c\/li\u003e\n\u003cli\u003eVertov’s Kino-Eye\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eCodifying Story Elements\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003ePropp’s \u003ci\u003eMorphology of the Folktale\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eNarratology: How Narrative Structures Affect Our Perception\u003c\/li\u003e\n\u003cli\u003eNarratology Terminology: Synecdoche, Contiguous, Metonym\u003c\/li\u003e\n\u003cli\u003eEmbedded Narratives: Fabula and Syuzhet\u003c\/li\u003e\n\u003cli\u003eA Perspectival Approach to Narrative\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eSubjective Retroversion \u003c\/li\u003e\n\u003cli\u003eThe Photograph: A Message Without a Code\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e \u003ci\u003eWar Primer\u003c\/i\u003e: Brecht’s Photo-Epigrams \u003c\/li\u003e\n\u003cli\u003e \u003ci\u003eTalking Pictures\u003c\/i\u003e: Photographic Stills and Audio Vignettes\u003c\/li\u003e\n\u003cli\u003ePerec’s ‘Infra-Ordinary’\u003c\/li\u003e\n\u003cli\u003eDe Quincey’s Record of Regency London\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eThe Photograph: Flat Anthropological Fact \u003c\/li\u003e\n\u003cli\u003eBrecht’s Theory of Distanciation\u003c\/li\u003e\n\u003cli\u003ePrimacy of Lexis Over Plot\u003c\/li\u003e\n\u003cli\u003eVisualisation of Large Data Sets\u003c\/li\u003e\n\u003cli\u003eMetadata - Tagging Archived Content\u003c\/li\u003e\n\u003cli\u003eThe Photo Archive\u003c\/li\u003e\n\u003cli\u003ePhotogrammetry: Cyber-Archaeology\u003c\/li\u003e\n\u003cli\u003eTrend-Identifying Algorithms\u003c\/li\u003e\n\u003cli\u003eNetflix Quantum Theory\u003c\/li\u003e\n\u003cli\u003eAuthoring Multiple Narrative Trajectories\u003c\/li\u003e\n\u003cli\u003eThe Database\u003c\/li\u003e\n\u003cli\u003eHypernarrative\u003c\/li\u003e\n\u003cli\u003eExtractive Hypertext and Immersive 3D\u003c\/li\u003e\n\u003cli\u003eAssociative Linkage\u003c\/li\u003e\n\u003cli\u003eGenre Classification\u003c\/li\u003e\n\u003cli\u003eThe Cinematic Metaphor\u003c\/li\u003e\n\u003cli\u003eNon-Traditional Film: Gordon’s ‘Temporal Deceleration’\u003c\/li\u003e\n\u003cli\u003eEmergent Narratives\u003c\/li\u003e\n\u003cli\u003eTriangulating Content\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eInteractive Narratives \u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eTextual Interaction\u003c\/li\u003e\n\u003cli\u003eChar Davies - \u003ci\u003eOsmose\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eProprioception \u003c\/li\u003e\n\u003cli\u003eArtist and Audience: Atherton’s Interactive Discourse\u003c\/li\u003e\n\u003cli\u003eNon-Linear Texts\u003c\/li\u003e\n\u003cli\u003eSyncretic and Synaesthetic Language\u003c\/li\u003e\n\u003cli\u003eThe Disrupting Effect of Latency Within Simulated Stories\u003c\/li\u003e\n\u003cli\u003eInteractive StoryTelling\u003c\/li\u003e\n\u003cli\u003eImmersion in the Textual World\u003c\/li\u003e\n\u003cli\u003eVisual Writing\u003c\/li\u003e\n\u003cli\u003eTemporal Immersion\u003c\/li\u003e\n\u003cli\u003eBackstory\u003c\/li\u003e\n\u003cli\u003eErgodic Texts\u003c\/li\u003e\n\u003cli\u003eConstant Recontextualisation\u003c\/li\u003e\n\u003cli\u003eDepth-First Exploration\u003c\/li\u003e\n\u003cli\u003eStructures of Interactivity\u003c\/li\u003e\n\u003cli\u003eSpatial and Emotional Immersion\u003c\/li\u003e\n\u003cli\u003eThe Greek Chorus\u003c\/li\u003e\n\u003cli\u003eAudience Participation: \u003ci\u003eLiving Theatre\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eThe Perspectivist Approach\u003c\/li\u003e\n\u003cli\u003eThe Freytag Triangle\u003c\/li\u003e\n\u003cli\u003eNarrative Constraints\u003c\/li\u003e\n\u003cli\u003eJoyce’s \u003ci\u003eEpiphany\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eThe Language of Television\u003c\/li\u003e\n\u003cli\u003eImpositional and Expressive Narratives\u003c\/li\u003e\n\u003cli\u003eThe Objective Correlative\u003c\/li\u003e\n\u003cli\u003eVirtual Identities\u003c\/li\u003e\n\u003cli\u003eFlat and Round Characters\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eVR Storytelling Techniques\u003cb\u003e \u003c\/b\u003e \u003c\/li\u003e\n\u003cli\u003ePerformative Gestures \u003c\/li\u003e\n\u003cli\u003eGesture Controlled Interfaces\u003c\/li\u003e\n\u003cli\u003eTechnology and Art\u003c\/li\u003e\n\u003cli\u003eHoey’s \u003ci\u003eThe Weight of Water\u003c\/i\u003e: Manufacturing Presence in VR\u003c\/li\u003e\n\u003cli\u003eMixed Storytelling: \u003ci\u003eFran Bow\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eInteractive Poetry: \u003ci\u003eDear Esther\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eLocation-Based AR\u003c\/li\u003e\n\u003cli\u003eThe Narrative Architect\u003c\/li\u003e\n\u003cli\u003eExperimental Narrative Riffs: \u003ci\u003eGrammatron\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eRemediating Stories\u003c\/li\u003e\n\u003cli\u003eInteractive Design: \u003ci\u003eTwine\u003c\/i\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eThe Business of Transmedia Storytelling\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e#FindTheGirl\u003c\/li\u003e\n\u003cli\u003eBlast Theory - \u003ci\u003eIvy4EVR\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eKaren\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003eContent Creation Departments - Going Viral\u003c\/li\u003e\n\u003cli\u003eThe Digital Newsroom - Transmedia and VR\u003c\/li\u003e\n\u003cli\u003eStorytelling on Social Media Platforms\u003c\/li\u003e\n\u003cli\u003eData Analytics\u003c\/li\u003e\n\u003cli\u003eStory Development Tools and Technologies\u003c\/li\u003e\n\u003cli\u003eAugmented Reality \u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eRecreating the Theatre Experience \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eConclusion\u003c\/p\u003e\u003cp\u003eAppendix 1 - Making \u003ci\u003eThe Little Extras\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eTowards a New Film Paradigm\u003c\/li\u003e\n\u003cli\u003eStorytelling using Spatial Montage\u003c\/li\u003e\n\u003cli\u003eThe Spectator’s Gaze\u003c\/li\u003e\n\u003cli\u003eThe Primacy of the Author\u003c\/li\u003e\n\u003cli\u003eAbdicating Authorship\u003c\/li\u003e\n\u003cli\u003eDeconstructive Cinema\u003c\/li\u003e\n\u003cli\u003eThe Function of Embedded Narratives\u003c\/li\u003e\n\u003cli\u003eLearning New Modes of Interaction\u003c\/li\u003e\n\u003cli\u003eNarrative Immersion\u003c\/li\u003e\n\u003cli\u003eFoveal and Peripheral Vision\u003c\/li\u003e\n\u003cli\u003eAltering Perspective\u003c\/li\u003e\n\u003cli\u003e \u003ci\u003eThe Little Extras\u003c\/i\u003e Sound Design\u003c\/li\u003e\n\u003cli\u003eInterpreting and Re-Interpreting the Textual World\u003c\/li\u003e\n\u003cli\u003eStoryboards and Animatics\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eAppendix 2 - Digital Data Compression\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSpatial and Temporal Compression - Exploiting Redundancy\u003c\/li\u003e\n\u003cli\u003eQuantisation: Threshold Levels and Banding\u003c\/li\u003e\n\u003cli\u003eCoding Compression \u003c\/li\u003e\n\u003cli\u003eFrame Prediction: Keyframes and Checksum Values\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51019510776151,"sku":"9781138638822","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138638822.jpg?v=1750780485","url":"https:\/\/bookcurl.com\/products\/interactive-narratives-and-transmedia-storytelling-9781138638822","provider":"Book Curl","version":"1.0","type":"link"}