What the web is doing to the future of fiction
Last updated at 07:57 GMT
Source : 6 February 2013 By Mark WardTechnology correspondent, BBC News
A bizarre and vibrant world forms the detailed backdrop of the video game Dishonoured
冤罪殺機視頻遊戲以一個離奇和充滿煽動的世界建構了詳細的背景
Adolf Hitler was gunned down in 1944 in a Parisian cinema in the closing scenes of Quentin Tarantino's Inglourious Basterds. That pivotal fictional event is linked to the director's other films, say fans - the son of one of the Basterds appears in Tarantino's True Romance.
昆汀·塔倫蒂諾的惡棍特工描述阿道夫·希特勒於1944年在巴黎電影院影片結束時被槍殺。這關鍵的虛構的事件與導演的其他電影連結，影迷說 -惡棍之一的兒子顯露塔倫蒂諾真正的愛情。
It's just one of the many links and influences that turn this set of movies into windows on an alternate world brought to life by the fast-talking director. It means Hitler's death in the cinema is shared across the films in the same way that many of his movies share fake brands such as Red Apples cigarettes and the Big Kahuna Burger chain of fast-food restaurants.
這只是這位說話很快的導演其中一個將諸多環節和影響，透過電影的視窗與之交替呈現出生活之一的連結。這意味著希特勒在戲院的死亡以同樣的方式，用很多他電影中分享虛構的品牌，如紅蘋果香煙和大Kahuna快餐連鎖店的快餐店等在電影共享。
That common back story is just one example of what is known as trans-media - something the web has made increasingly common. Like its name suggests, trans-media happens when a story transcends the narrow confines of a single telling, be that in a book, a comic, on film or in any other media.
這個共同背景的故事僅僅是一個例子 – 在被稱為跨媒體網絡已經越來越普遍。就像它的名字所暗示的，跨媒體所發生的故事超越了狹窄單一且有說服力的，用在一本書，一本漫畫，電影或任何其他介質中。
"People use that approach because it helps extends their stories over timelines and territories so it can span the real world and the digital world," said Alison Norrington, a writer who uses and teaches trans-media techniques.
艾莉森·諾林頓說：“人們使用這種方法，因為它有助於延長他們的故事時限和地區，因此它可以跨越現實世界和數字世界”， 這位一個作家使用，並教導的跨媒體技術。
Trans-media is the reason why there is often a game of the movie, or a spin-off book, TV series or cartoon.
跨媒體往往是為何有電影遊戲，分拆某部分情節而另成一本書，電影，電視連續劇，動畫片的原因。
You need to know that your story can stand more than one telling and that it is ripe to be extended”
你需要知道你的故事可以站在不僅一個以上有說服力的擴展，且是成熟的“
Alison Norrington
艾莉森·諾林頓
Trans-media explains all those sequences that ran after the credits in Iron Man I and II, Captain America, and Thor that helped pave the way for the movie that brought them all together - Avengers Assemble.
跨媒體解釋了所有的學分後，在鋼鐵俠 I 和 II，美國隊長和雷神索爾的電影，把他們帶到一起 - 復仇者裝配鋪平了道路，幫助這些序列運行。
Crossing those boundaries online and in the real world was useful, said Ms Norrington, because it could help a project live longer than it otherwise would. It also helped an audience engage with a story they liked and wanted to find out more about, she said. Both can help creators cultivate an audience and generate a bigger return, be that financial or creative, from the stories they fashion.
跨越這些邊界在網上和在現實世界中是有用的，諾林頓女士說，因為它可以幫助計畫項目比原來活得更長。這也有助於觀眾參與他們所喜好，想了解更多有關的故事，她說。既可以幫助創作者培養觀眾，產生更大的回報，無論是財政或創意，及他們的故事所產生的時尚。
In many cases those uses of trans-media, which can involve fan fiction, alternative reality gaming or online communities, flesh out and enrich the world depicted in the book, movie or show that started it all off.
在許多情況下，這些使用跨媒體用途的，它可以涉及跨媒體影迷小說，另類實境遊戲，線上社區，充實和在書，電影或節目開始這一切描繪豐富世界。
The biggest projects involving the largest fictional properties, such as the galaxy depicted in Star Wars, employ lore watchers who ensure that the story stays consistent across its many re-tellings.
最大的項目，涉及虛構的最大屬性，如“星際大戰”中描述的星系，僱用的學識觀察者確保在重新敘述故事時保持一致。
Play time
播放時間
Some creators, such as game makers Raphael Colantonio and Harvey Smith, have approached trans-media from the other end. In their creation, video game Dishonoured, players only get to see a fraction of all the work the designers did on the world in which it is set.
一些創作者，如遊戲廠商拉斐爾 Colantonio 和哈維·史密斯，已經接近跨媒體的另一端。在他們的創作中，視頻遊戲冤罪殺機，設計師在世界上做的所有工作被設置，玩家只能看到一小部分。
"In any given play-through, we think you see about 30% of the content," said Mr Smith.
“在任何特定播放通過，我們認為你看到是約30％的內容，史密斯先生說：”。
The films of Quentin Tarantino form a unified world of their own
Dishonoured revolves around the attempts of royal bodyguard Corvo Attano to clear his name after being framed for murder. The game's flexibility means players can choose how they do that. Some carve a bloody swath through the city of Dunwall as they search for answers, others eschew violence altogether and use more subtle ways to expose the real murderers.
昆汀·塔倫蒂諾的電影，形成一個屬於自己的天地連結
冤罪殺機的劇情圍繞在王室保鏢科爾武Attano，在被誣陷為謀殺皇室嘗試洗清他的罪名。本場比賽的靈活性意味著玩家可以選擇他們是如何做到這一點。當他們尋求答案，一些刻畫血腥大量通過Dunwall的城市，避免暴力而使用更微妙的方式來揭露真正的兇手。
Creating a virtual environment in which those paths, and any in-between, could be explored was less about video game design and more about creating a rich world, said Mr Smith. It involved the designers knowing almost everything about the game's dismal steam-punky setting. Everything from the calendar to the foods its inhabitants eat to the religion they practise.
這些路徑，並在任兩者之間創建一個虛擬的環境中，可以探討的是關於視頻遊戲的設計和創造一個豐富的世界，史密斯先生說。它涉及的是設計者知道幾乎所有蒸汽朋克遊戲設置的方法。從曆法到居民所吃的食物到實踐他們的宗教。
"It's our strategy on every project to make the world bigger than the game," he said. "You meet a character in the world and it inspires a back story, perhaps they used to know the other side of town when they were young. None of that is in the game but it adds layers to it."
“這是我們對每一個項目的戰略，讓世界比遊戲更大，”他說。“你遇見滿足世界中的一個特徵，它激發了後面的故事，也許在他們年輕時他們曾經知道城市的另一邊。這些都不是在遊戲中，但它增加了遊戲的級層。”
The strategy helps re-playability because it means when players chat about Dishonoured they realise what they missed and go back to try to find out more.
該戰略有助於重新可玩性，因為這意味著當玩家聊天，試圖找到更多有關冤罪殺機，他們意識到他們錯過了什麼，再試著回去找尋發現。
"It's part of the magical process where you go through the world exploring and perhaps getting to roof tops you didn't think you could reach," said Mr Smith "In those actions you have a great sense of agency. You're not in a hallway pushing buttons given to you by the designer."
這是當您去探索世界時，也許你沒有想到你會經歷達到屋脊之最的神奇過程，”史密斯先生說：“在這些行動的機構有很大的意義。你不是只是在走廊按下設計師給你的按鈕那樣而已。“
Art work
藝術作品
Not all works lent themselves to being exposed and enhanced by getting the trans-media treatment. said Ms Norrington.
並非所有的作品都借給自己被暴露，提高了獲得的跨媒體療癒。諾林頓女士說。
"Not every story should be told this way," she said. "There's a danger of over-exposure. You need to know that your story can stand more than one telling and that it is ripe to be extended."
“不是每一個故事都以此種形式被告知，”她說。“有過度暴露的危險。你需要知道你的故事可以站在一個有說服力的關鍵點，它是成熟且可以延長。”
Literary fiction exists for itself, said novelist Jean McNeil
小說家讓·麥克尼爾說：文學小說本身即存在
For novelist Jean McNeil, who has collaborated on multimedia works, there was one category, literary fiction, that definitely should not get that treatment.
對小說家·麥克尼爾而言，合作多媒體作品，有一種類文學小說，這是絕對不應該得到這種待遇。
"That kind of fiction does not need to exist, except for the fact that someone wants to write it," she said.
“那種小說不需存在的，除非，有人想要把它寫出來，”她說。
In that sense, she said, its intent and emotional intensity meant it had more in common with works of art than with more mainstream fiction.
她說，從這個意義上說，它的意圖和情感的強度意味著它比更多的主流小說來， 有更多共同的藝術作品
"With literary fiction there's no pre-existing expectations about where the narrative is going to take you," she said. "It's ambitious in a way that genre fiction isn't."
這些文學小說是要你對故事將往何處沒有預先存在的期望，”她說。“這以雄心勃勃的方式進行而通俗小說不是。”
It was also interactive in a way that writing read on a screen was not, she added, and engendered a very different reaction.
這也是互動的方式在屏幕上閱讀，寫作，她補充說，產生了非常不同的反應。
"It's more about what is it going to do to a reader's mental landscape," she said. "The actual reading experience asks you to forget the world." That immersion, said Ms McNeil, was much harder to achieve in other media.
“更多要做的是到達讀者的心靈風景，”她說。“實際的閱讀體驗，讓你忘了世界。” 沉浸，麥克尼爾女士說，在其他媒體上更難以實現。
"It's worth paying for that to have your cultural and mental landscapes broadened," she said.
“讓自己的文化和該有精神風景擴大，這是值得付出”她說。
Despite this, said Ms McNeil, there were real benefits in a writer using the web, social media and other tech tools to reach out.
儘管如此，麥克尼爾女士說，作家使用互聯網，社交媒體和其他高科技手段達到如此有實在的好處。
"The publishing world has become cacophonic and something of a free for all," she said. "I'm all for change and innovation because it helps writers find readers."
“出版世界已成為不一致且免費提供所有的東西，”她說。“我所有的變革和創新，是因為它可以幫助作家找到讀者。”
* 本文僅提供翻譯參考。
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