by John Gross
Throughout time technology has changed how the writer crafts his novel. From pen and paper, to typewriters, to word processing—the tools of the trade are constantly evolving. In today’s world, the writer can craft a sentence and move it around to different places, supplementing paragraphs where he sees fit. This can be a powerful tool, that makes the revision process more fluid and dynamic. An author can be less committed to putting something on a page, where it can be easily reshaped, moved, and removed. While this technology has fundamentally changed how the novelist crafts his work, it hasn’t really changed how the reader consumes it. Sure, we are in a period of time that is showing the rise of e-readers and digital print, but ultimately the novel is being experienced in the same traditional way.
by Michael Nusspickel
Multi-modal art has been gaining popularity among artists for the past decade, and it would be hard to argue that video games aren’t a means of creating a multi-modal experience for an audience. Within the genre of video games exists a niche sub-genre that logically should be the answer to many writer’s problems with choosing a medium, but it has barely been noticed (if at all) outside of the gaming community: the visual novel.
Visual novels are novels that use visual and audio cues alongside text to communicate their content. A mix between graphic novels, video games, and pure prose, the visual novel allows a writer to have a product with visual art as an integral part of the storytelling but without sacrificing one’s prose for it. Text is delivered through speech boxes, backgrounds and characters are drawn, and sound and music add to the experience. Visual novels offer everything a graphic novel does, but with the ability to ignore a graphic novel’s layout limitations on word count. They originated in Japan but have been around for well over a decade at this point, so the question becomes: how come they haven’t caught on with Western writers?