A collection of interactive stories set in a magical forster care home, narrated by a talking book, The Book of the Lost. The Mrs. Wobbles stories include: Mysterious Floor, Parrot the Pirate, Switcerhoo (trans. by Maria Goicoechea as El cambiazo), and Spy E.Y.E..
This cute interactive story offers a reimagining of “Little Red Riding Hood.” Designed to appeal to literate and preliterate audiences (as young as two years old), the game offers twelve exploratory animated scene peppered with hidden mini games. The work uses touch and tilt to allow the interactor to discover the story while engaging the affordances of mobile devices. Interactors are free to explore the tale at their own pace, as the wolf stalks over to granny’s house. However, created for even the youngest of audiences, the wolf merely shoves granny into a closet, rather than eating her. Rendered in white, black, and grey (with a hint of red), this app’s aesthetic draws upon the style of Japanese anime and contemporary animation. Backed by an immersive soundtrack, the piece offers a delightfully modern retelling of this classic tale.
(Source: Description from ELO 2017: Book of Abstracts and Catalogs)
“Flewn” is a melancholic and surrealistic story in book app format about an old whale walking on stilts through a desert in search of a lost ocean, carrying on its back jars with sea creatures it has rescued. Beautifully executed, “Flewn” offers two reading modes: the story mode, in which the reader explores the whale’s story by scrolling through the illustrations, accompanied with music, animation, video, and text; and the game mode, which offers an interactive exploration of the story space from the perspective of a little frog whose helicopter must be kept on air by pedalling and in this way help to spot the ocean everybody is looking for.
(Source: Description from ELO 2017: Book of Abstracts and Catalogs)
Android version is as of 2017, unreleased, but still downloadable from the App store.
“Boum!” is a wordless narrative which uses a very simple horizontal scroll to present the linear story of a man whose routine stroll to work is altered by a snowfall that makes him lose his way and transforms his day into a surreal journey. The story is beautifully rendered in a series of scenes in which the graphic design and the soundtrack become the true protagonists of the tale: an ode to the universal need for friendship and fantasy. “Boum!” combines music, paintings, and interaction to create a delightful experience for all ages. It received a special mention of the Bologna Children’s Book Fair (fiction) in 2016 and was the Editor’s Choice of the Children’s Technology Review supported by CNL, Salon du Livre de Jeunesse de Montreuil.
(Source: Description from ELO 2017: Book of Abstracts and Catalogs)
Boum! est un récit horizontal pour grands petits hommes, imaginé et illustré par Mikaël Cixous, mis en son par Jean-Jacques Birgé et propulsé par Mathias Franck.
Première production du genre, Boum! détourne les codes de visualisation classiques et invente une nouvelle façon de s’immerger dans une histoire. Le principe d’une lecture horizontale enrichie par une bande sonore réactive et surprenante, bouscule et enrichi à chaque instant la perception du spectateur.
Boum! dénote par la simplicité du procédé utilisé et la richesse du rendu. Les Inéditeurs marquent ici un retour aux sources quant au travail d’écriture et de mise en scène visuelle et sonore avec un credo simple : privilégier l’histoire et laisser l’imagination galoper.
L’absence de paroles, l’enchainement et la beauté graphique des tableaux, la musicalité, la narration elliptique et simple à la fois, tout cela nous entraine dans une expérience hors du temps et de l’instantané, un moment et un espace pour soi, offrant une grande liberté d’interprétation et de ressenti, chacun à son rythme.
Ten is an electronic literature piece emerges organically from my very digital life as a ten-year-old. Every day I make a lot digital art and interventions - from simple selfies to more complicated stories and most are about presenting myself as a girl who is ten or imagining who I want to be. some are about conforming to how others think i should be... or how I hope they see me. My friends and I exchange and circulate our representations every day... like a networked memoir. For the ELO, Ten will be a carefully curated collection 365 small digital moments from among thousands, set up on a computer using a simple calendar interface. You can select a date and you’ll see a photo or short video, a musical.ly, snapchat photo, an Instagram picture or a storify. To me it’s like a time capsule digital memoir and on my 11th birthday I will do a one minute video about all the things I learned being ten and making these things and sharing them and about this being my world. And advice I would give a ten year old.
Presented on a Desktop PC.
(Source: Description from ELO 2017: Book of Abstracts and Catalogs)
Augmented beasts builds on some of my experiences and preoccupations in the book world – my books on circus, optical illusion (Painted Circus), visual experiences that weave together unusually coupled animals (Mixed Beasts) and animals who live, for example, in strange Victorian Houses (Alphabeasts). It is also indebted to my fascination with magic and, of course, by the possibilities I see in the emerging medium of augmented reality itself for children: being able to ‘touch’ a virtual object and make it disappear... being able to use an ipad as a looking glass to encounter hidden illustrations, stories and music. This piece was coded in Vuforia for ipad during an artist residency at the Augmented reality lab at York University.
(Source: ELO 2017: Book of Abstracts and Catalogs)
Can a snapchat story also be electronic literature? I’m fourteen years old and I think so. Micro-video sharing apps constitute new ways to share our lives and new ways to circulate fiction, documentary works and poetry. The storytelling itself may be linear, but these are born-digital, aphoristic, networked and experimental. A snapchat story can selectively document a day, but it can also force a fictional piece into a highly constrained form. Finally, Snapchat is built on the idea of ephemerality—a Snapchat story is designed to vanish in 24 hours. For the Festival I propose one of two things—either a snapchat story captured on video that can be shared via computer or phone or, a true Snapchat story, available only for a 24 hour period during the Festival.
(Source: Description from ELO 2017: Book of Abstracts and Catalogs)
