[ecrea] CFP: Storyworld Design. Creative perspectives for an Organic Transmedia

Call for Papers for a journal special issue on

“Storyworld Design. Creative perspectives for an Organic Transmedia”

** Journal **
ICONO14
ISSN: 1697-8293 | DOI: 10.795/ri14 | URL: https://icono14.net


** Deadlines **
Opening date for the submission of proposals: 1 July 2018
Deadline for submission of full articles: 15 September 2018


** Guest Editors **
Beatriz Legeren Lago, University of Vigo (Spain) [(blegeren /at/ uvigo.es) 
<mailto:(blegeren /at/ uvigo.es)>]
Nelson Zagalo, University of Aveiro (Portugal) [(nzagalo /at/ ua.pt) 
<mailto:(nzagalo /at/ ua.pt)>]


** Publication date **
1 January 2019


** Presentation **

Digitalization affects not only consumption, but also creation. Stories 
should not be designed only for one medium (screen), they should 
be created with many screens in mind. Making the most of their different 
characteristics will enrich the story and provide new ways to approach a 
fictional universe that can become pervasive through the design of 
organic transmedia products.

As creators we can no longer focus on only one medium, we need to be 
aware of how they interrelate in the new media ecosystem. We must also 
reflect on how to apply our creative potential, either by relying on 
simple multimedia, intermedia or crossmedia scenarios or by taking 
active steps to develop transmedia. Independently of the future 
ecosystem in which our creations will take place, narrative 
production should nowadays be understood more in terms of a fictional 
universe rather than in terms of a closed story. In other words, the 
current mix of technical possibilities, media and media channels allow, 
and almost demand, the continuation, extension, adaptation, or 
extrapolation of the story.

Note how, in recent years, we have changed our own discourse, talking 
about narrative design instead of narrative writing. This is 
explained by changes in the media ecosystem, the increased demand for 
narrative products but, especially, by the need to create narratives 
that work as organic systems capable of linking different stories, 
multiplying perspectives, and creating universes.

None of this is indifferent to production companies’ needs to create new 
intellectual property. The need for content to keep all the 
content networks active has led to increased production, but creating 
new products is always a risk. Audiences tend to prefer sequels or 
prequels; in other words, stories that in some way are connected to 
universes they already know. Spectators are quick to identify and 
empathise with these universes and want to access them more. This means 
that, increasingly, each new story can no longer be considered as just a 
story; it must have conditions to be expanded into new and complete 
narrative universes.

On the other hand, we cannot forget how the world of communication has 
abandoned the unidirectional creation paradigm. We can no longer think 
about creators and receivers, we need to understand that we are 
communicating with other creators. In other words, we need to be aware 
that fictional universes don’t end when they are released; that is the 
moment in which they really begin, as fans appropriate them and give 
them continuity in their communities. Over time, continuous creation 
cycles mean that these fan-based manifestations will be incorporated in 
next creations.

This monograph seeks to collect research contributions that will 
describe, explain and reflect on the story creation process from 
the perspective of scriptwriters and designers; producers and directors; 
and from the audience, readers, spectators or players.

But that won’t be all. It also seeks to understand where these new 
models are taking us and to present potential new approaches that 
new creators can implement and develop.


** Proposed topics **

Theoretical perspectives on creating for different screens.
Changes in the narrative construction of audiovisual works.
Video game script development with virtual reality interaction.
Co-creation and transmedia.
Proto narratives embedded in virtual systems.
Design of storyworlds and fictional universes.
Character design for fictional universes.
Designing for user/player participation.
Differences in transmedia models.
Narrative, game and storyworld.
Universes co-created by players.
Open and closed worlds.
The psychology of mental reconstruction of new stories.


** Guidelines for authors **

Papers can be submitted in English or Spanish.

All submissions must be made through the OJS platform of the journal 
Icono14 https://icono14.net/ojs/index.php/icono14/about

The authors’ guidelines can be found at the following URL: 
http://www.icono14.net/ojs/index.php/icono14/about/submissions#authorGuidelines


** About the Journal **

The Journal ICONO 14 offers a space to disseminate quality scientific 
works concerning basic or applied, experimental, epistemological 
and descriptive research on communication, its corresponding fields, and 
particularly Information and Communication Technologies from 
a communicative perspective.


** Indexation **
Web of Science - Emerging Citation Index, Clarivate Analytics, Google 
Scholar Metrics, Journal Scholar Metrics (Communication), MIAR , SJIF, 
INDEX Copernicus International, Cosmos Impact Factor


https://icono14.net/ojs/index.php/icono14/announcement/view/24
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