{"id":138,"date":"2017-10-02T12:55:38","date_gmt":"2017-10-01T23:55:38","guid":{"rendered":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/?page_id=138"},"modified":"2017-10-12T10:40:27","modified_gmt":"2017-10-11T21:40:27","slug":"kirstys-argument","status":"publish","type":"page","link":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/kirstys-argument\/","title":{"rendered":"Kirsty’s Argument"},"content":{"rendered":"

The Effectiveness of Touch Screen Interaction in Pry <\/em>\u00a0<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Touch screens have elevated the effectiveness of\u00a0interaction seen in digital literature. This is evident in the iPad fiction Pry<\/em> created by Danny Cannizzaro & Samantha Gorman. Pry<\/em> is a fictional narrative presented in the relatively modern medium of the touch screen or iPad literature.\u00a0Compared to narratives traditionally\u00a0produced for an iPad or tablet, Pry<\/em> is highly\u00a0interactive. The creators of Pry<\/em> have created an interface in which the reader\/user controls the narrative. This level of interactivity adds to both the meaning and overall appeal of the text.<\/p>\n

Pry<\/em> in its genre placement is complex. It adheres to traits from many genres, including novel, film and game. The story centers around a character named James whom 6 years\u2019 prior returned from the first Gulf War. The literature encourages the reader to enter the levels of James\u2019 mind, pulling apart memories and inner thoughts. Much of the text is full of symbolic and metaphorical material. There is a large focus primarily on eye sight and eyes. The interface works with the reader\/user instructing them to pinch open to see through the character\u2019s eyes and pinch inward to see his subconscious or thoughts.\u00a0When pinched and held closed the user is offered a swift flashing set of diagnostic words. Sometimes with these words, montages of black and white images also to do with eyes are also visible. When the eyes are not being pinched closed by the reader\/user, filmography of the story in \u2018real time\u2019 can be viewed, and it is able to be gauged what is physically happening to the character.<\/span><\/p>\n

This process becomes in itself a symbol for post-traumatic stress disorder, as throughout many of the chapters, the reader is torn between closing the eyes and analyzing the thoughts the character is having, or opening the eyes\u00a0and seeing what is happening in the real world. It becomes a constant struggle between reality and the mind. This effect would not be achieved without the function of the user being able to interact with the interface through touch.<\/p>\n

Unlike other pieces of digital fiction, which are also interactive, the touch screen in Pry allows for a deeper more meaningful interaction. The reader\/viewer has to make decisions between the real world and the subconscious . While this decision could be adapted to other forms of digital literature, there is a certain effect generated from the touch screen which would be hard to parallel. By physically opening the character\u2019s eyes with a hand motion, the interaction becomes more realistic and meaningful to the participant. The thematic expression of post-traumatic-stress disorder would not be possible in any other medium. More specifically it would not be as easy for the reader\/user to connect on a personal level if they were not controlling James\u2019 mind with their fingertips. While previous forms of digital literature have allowed for interactivity, no other forms can get inside of a character\u2019s head as Pry <\/em>does. Therefore, it can be said Touch screens have elevated the effectiveness of\u00a0interaction seen in digital literature.<\/p>\n

 <\/p>\n

\"hand\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The Effectiveness of Touch Screen Interaction in Pry \u00a0 Touch screens have elevated the effectiveness of\u00a0interaction seen in digital literature. This is evident in the iPad fiction Pry created by Danny Cannizzaro & Samantha Gorman. Pry is a fictional narrative … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":29495,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-138","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/wp-json\/wp\/v2\/pages\/138","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/wp-json\/wp\/v2\/users\/29495"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/wp-json\/wp\/v2\/comments?post=138"}],"version-history":[{"count":0,"href":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/wp-json\/wp\/v2\/pages\/138\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.otago.ac.nz\/digital-lit2017\/wp-json\/wp\/v2\/media?parent=138"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}