The Frame

More stately mansions.



May 31

Guillermo del Toro On The Future of Narrative

  • Wired: It sounds like you're talking about an entirely new form of storytelling.
  • del Toro: Think about the way oral tradition became written word—how what we know about Achilles was written many, many years after it made its way around the world with different names and different types of heroes. That can happen when you allow content to keep propagating itself through different kinds of platforms and engines—when you permit it to be retold with a promiscuous form of mythology. You see it when people create their own avatars in games and transfigure their game worlds.
  • Wired: How is that interactivity going to change Hollywood—and the way directors like you make movies?
  • del Toro: [Legendary B-movie producer] Samuel Arkoff once told me there are only 10 great stories. That's where the engine and promiscuity come in. Hollywood thinks art is like Latin in the Middle Ages—only a few should know it, only a few should speak it. I don't think so.
  • Wired: So how will the public story engine tell those same 10 stories differently?
  • del Toro: We are used to thinking of stories in a linear way—act one, act two, act three. We're still on the Aristotelian model. What the digital approach allows you to do is take a tangential and nonlinear model and use it to expand the world. For example: If you're following Leo Bloom from Ulysses on a certain day and he crosses a street, you can abandon him and follow someone else.
  • Wired: You're describing a model that's more like a videogame. Is the merger of movies and games the first step?
  • del Toro: Unfortunately, I've found in my videogame experience that the big companies are just as conservative as the studios. I was disappointed with the first Hellboy game. I'm very impressed with the sandbox of Grand Theft Auto. You can get lost in that world. But we're using it just to shoot people and run over old ladies. We could be doing so much more.
  • Wired: But these nonlinear, hybrid storytelling forms involve gaming tech, which could trap them in a geek ghetto. What's going to bring down that wall?
  • del Toro: Go back a couple of decades to the birth of the graphic novel—I think we can pinpoint the big bang to Will Eisner's A Contract With God. Today, we have very worthy people doing literary comics. I think the same thing will happen on the Internet-gaming side. In the next 10 years, there will be an earthshaking Citizen Kane of games.
  • (via: Wired)


May 6


Jan 20

Narrative and Other Nonsense

Suderman ponders Obama’s narrative:

Bush always seemed to think of leadership as akin to sports — focus, endure, keep your energy up, and will away any potential obstacles. Obama, I would guess, will treat it as a complex, perhaps philosophical, piece of fiction, and he will likely want to shape it into something he finds both elegant and true. Of course, I suspect that most every American president sees themselves as the hero of their own story, though what type of story that is varies.  Bush seemed to think he was in an old war movie; Nixon in a paranoid thriller; Reagan, a global-scale western; Clinton, a serio-comic legal farce. What story Obama believes he is at the center of will, in part, determine how he leads and how he governs. And for both his sake and the nation’s, I hope that it is a story that requires struggle but not failure, intellect but not confusion, ambiguity but not despair — a story that is not just subtly hopeful, in that coy literary way, but genuinely successful.
(hat tip: Andrew Sullivan, The Daily Dish)

A reader (of Suderman), Roque Neuvo, calls the post a “classic in the genre of make-believe yuppie analysis,” whic is true to some extent. But I think Neuvo is holding Suderman’s thoughts to too strict of standards. Suderman is not performing an “analysis based on reasoning and evidence,” but speculating. Suderman doesn’t seem to be claiming hard evidence backs up his thoughts. I find convincing the idea that we see ourselves in a narrative that we create, often based on one we have seen before—in novels or films or photographs or whatever. I guess by empirical standards, all art and its effects can be reduced to “yuppie psychobabble.”

Suderman’s thoughts are overreaching a bit, but I enjoyed his rundown of the different possible presidential narratives. Can we really argue that Bush didn’t see himself as the good guy in a Western/ old war movie?



“…if you bring off adequate preservation of your personal myth, nothing much else in life matters. It is not what happens to people that is significant, but what they think happens to them.”
Anthony Powell, Books Do Furnish a Room. (via rach)
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