I would like to clarify and introduce some terms for you in order to read this text in the desired way. For a while, we will stay in the bight of this journey as we move into forming loops, theories and ideas on how interactive picture books can be used to foster curiosity for reading and creativity for children. I am building a web platform called Wink that aims to contain a children’s story I wrote and am making into an interactive experience, in relation to my research.
<figure>
<imgsrc="../irmak/unnamed.png"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
Through this bight of the thesis, I feel the necessity to clarify my intention of using knots as a “thinking and writing object” throughout my research journey. Although knots are physical objects and technically crucial in many fields of labor and life, they are also objects of thought and are open for wide minds’ appreciation. Throughout history, knots have been used to connect, stop, secure, bind, protect, decorate, record data, punish, contain, fly and many other purposes. So if the invention of flying -which required a wing that was supported using certain types of knotswas
initiated with the knowledge of how to use strings to make things, why wouldn’t a research paper make use of this wonderful art as an inspiration for writing and interactive reading?
{.image-80}
Through this bight of the thesis, I feel the necessity to clarify my intention of using knots as a “thinking and writing object” throughout my research journey. Although knots are physical objects and technically crucial in many fields of labor and life, they are also objects of thought and are open for wide minds’ appreciation. Throughout history, knots have been used to connect, stop, secure, bind, protect, decorate, record data, punish, contain, fly and many other purposes. So if the invention of flying -which required a wing that was supported using certain types of knots was initiated with the knowledge of how to use strings to make things, why wouldn’t a research paper make use of this wonderful art as an inspiration for writing and interactive reading?
## KNOTS AS OBJECTS TO THINK WITH
There is a delicate complexity of thinking of and with knots, which ignites layers of simultaneous connections to one’s specific experience; where one person may associate the knots with struggles they face, another may think of connecting or thriving times. In a workshop in Rotterdam, I asked participants to write three words that comes to mind when they think of knots. There were some words in common like strong, chaotic, confusing and anxious. On the other hand, there were variations of connection, binding, bridge and support. Keeping these answers in mind or by coming up with your words on knots and embodying them in the practice of reading would make
a difference in how you understand the same text.
<figure>
<imgsrc="../irmak/knot1.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
<br>
<figure>
<imgsrc="../irmak/knot2.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
Seeing how these words, interpretations of a physical object were so different to each other was transcendental. In this thesis, I am excited to share my understanding of knots with you. My three words for knots are resistance, imagination and infinity. Keeping these in mind, I experimented
with certain reading modes as you will see later on.
Knots are known to be used 15 to 17 thousand years ago for multiple
purposes. These purposes were often opposing each other. For example, it
could be used to let something loose or to restrain it; for pleasure or
pain; for going high above or down below… I believe this diversity of
uses can also be seen in how people approach knots as an idea or a
metaphor. One can think it represents chaos where someone else might see
it as a helpful mark. Essentially, this diversity is what got me
interested in knots years ago and since then, I have found ways to
implement this “loop of thought” in my daily life and research
methods.
There are two main reasons to why I chose to write this essay in a
“knotted” format. One is that I would like to share my process and
progress of research on this project and this involves “thinking with an
object”, in this case types of knots. In Evocative Objects, Sherry
Turkle, who is a sociologist and the founder of MIT initiative of
technology and self, refers to the object in the exercise of thinking as
emotional and intellectual companions that anchor memory, sustain
relationships and provoke new ideas. I completely agree with this
statement through personal experience. The second reason is that I see
this as an opportunity to experiment if I can use knots as an
interactive (which is not in knots’ nature since they are mainly
practiced in solo) and playful element in writing. This is also why I
would like to take a moment to mention what happens to the interplay of
processes in which we call thought when we think with knots in
specific.
For Turkle and Seymour Papert, who is a mathematician, computer
scientist and educator that did remarkable research on constructivism,
being able to make a reading experience tangible, or even physically
representable makes the process of thought more concrete. Concrete
thinking in this sense is a way of thinking that I adapted to in the
past years, where you think with the object and imagine it vividly
during the process and address meanings to it as you read or write
along. This way it’s easier to compartmentalize or attribute certain
parts of a text to an imagined or real physical item which makes the
mind at ease with complex chains of thought.
Imagine you are reading a story… What if you think of the string itself
as the journey and the slip knot (which is a type of stopper knot) as a
representation of an antagonist because of its specific use in hunting,
would this change your approach to reading this story? I believe so…
What if instead of a slip knot a Bowline was on the string, would
that represent something else in the story because of its usage in
practice. A Bowline is commonly used to form a fixed loop at the end of
a string; it’s strong but easy to tie, untie. Due to these qualities, we
can imagine the bowline to represent the conclusion in a story. What if
we have a Square Knot, how would that change the course of a narrative?
Square knot is used to bundle objects and make the two ends of the same
string connect. From just this, we can use it to represent the
connection between the beginning and end of a story. My point is, there
are limitless implementations on how to use knots in literature because
of their versatile purposes and the narrative vocabulary they create.
Topologists are still trying to identify seemingly infinite numbers of
combinations which we simply call “knots” and I see this as an
inspiration to keep writing.
One example of the wondrous versatility and potential of knots is how
they are used to archive and encrypt information. Incan people from the
Andes region recorded information on Quipus, dating back to 700 CE.
Quipus are textile devices consisting of several rows of cotton and/or
camelid string that would be knotted in a specific way to record, store
and transmit information ranging from accounting and census data to
communicate complex mathematical and narrative information (Medrano,
Urton, 2018). Another example is the Yakima Time Ball, which was used by
North-American Yakama people to show life events and family aff airs.
This is why I humbly decided to document my research process with a
Quipu of my own. I am trying to symbolize the twists, decisions and
practices throughout this year with knots of my choosing. I was inspired
by Nayeli Vega’s question, “What can a knot become and what can become a
knot?”
{.image-95}
{.image-95}
Seeing how these words, interpretations of a physical object were so different to each other was transcendental. In this thesis, I am excited to share my understanding of knots with you.
My three words for knots are resistance, imagination and infinity. Keeping these in mind,
I experimented with certain reading modes as you will see later on.
Knots are known to be used 15 to 17 thousand years ago for multiple purposes. These purposes
were often opposing each other. For example, it could be used to let something loose or
to restrain it; for pleasure or pain; for going high above or down below… I believe this diversity
of uses can also be seen in how people approach knots as an idea or a metaphor. One can think it represents chaos where someone else might see it as a helpful mark. Essentially, this diversity
is what got me interested in knots years ago and since then, I have found ways to implement this
“loop of thought” in my daily life and research methods.
<sectionclass="loops">
There are two main reasons to why I chose to write this essay in a “knotted” format. One is that
I would like to share my process and progress of research on this project and this involves
“thinking with an object”, in this case types of knots. In Evocative Objects, Sherry Turkle,
who is a sociologist and the founder of MIT initiative of technology and self, refers to the object in the exercise of thinking as emotional and intellectual companions that anchor memory, sustain relationships and provoke new ideas. I completely agree with this statement through personal experience. The second reason is that I see this as an opportunity to experiment if I can use knots as an interactive (which is not in knots’ nature since they are mainly practiced in solo) and playful element in writing.
This is also why I would like to take a moment to mention what happens to the interplay of
processes in which we call thought when we think with knots in specific.
For Turkle and Seymour Papert, who is a mathematician, computer scientist and educator that did
remarkable research on constructivism, being able to make a reading experience tangible, or even
physically representable makes the process of thought more concrete. Concrete thinking in this sense
is a way of thinking that I adapted to in the past years, where you think with the object and imagine
it vividly during the process and address meanings to it as you read or write along. This way it’s easier to compartmentalize or attribute certain parts of a text to an imagined or real physical item which makes the mind at ease with complex chains of thought.
Imagine you are reading a story… What if you think of the string itself as the journey and the slip knot (which is a type of stopper knot) as a representation of an antagonist because of its specific use in hunting, would this change your approach to reading this story? I believe so…
<sup><spanclass="margin-note"><imgsrc="../irmak/slipknot.png">Slipknot is widely used for catching small animals like rabbits and snares. It is also commonly used to tie packages.</span></sup>What if instead of a slip knot a bowline was on the string, would that represent something else in the story because of its usage in practice. A Bowline is commonly used to form a fixed loop at the end of a string; it’s strong but easy to tie, untie. Due to these qualities, we can imagine the bowline<sup><spanclass="margin-note"><imgsrc="../irmak/bowline.png">Bowline is known to be used since 1627. Some believe it was used in Ancient Egypt because a knot resembling it was discovered in the tomb of pharaoh Cheops. Even after it's used and very tight, bowline is still easy to untie, which makes it commonly used.</span></sup> to represent the conclusion in a story. What if we have a Square Knot, how would that change the course of a narrative? Square knot is used to bundle objects and make the two ends of the same string connect. From just this, we can use it to represent the connection between the beginning and end of a story. My point is, there are limitless implementations on how to use knots in literature because of their versatile purposes and the narrative vocabulary they create. Topologists are still trying to identify seemingly infinite numbers of combinations which we simply call “knots” and I see this as an inspiration to keep writing.
One example of the wondrous versatility and potential of knots is how they are used to archive and encrypt information. Incan people from the Andes region recorded information on Quipus, dating back to 700 CE Quipus are textile devices consisting of several rows of cotton and/or camelid string that would be knotted in a specific way to record, store and transmit information ranging from accounting and census data to communicate complex mathematical and narrative information (Medrano, Urton, 2018). Another example is the Yakima Time Ball, which was used by North-American Yakama people to show life events and family affairs.<sup><spanclass="margin-note"><imgsrc="../irmak/square.png">Square knot is one of the oldest knots. Romans knew it as Hercules knot. A roman scholar claimed that it speeds up healing when used to secure a bandage. It is often used to tie belts and shoe laces.</span></sup>
This is why I humbly decided to document my research process with a Quipu of my own. I am trying to symbolize the twists, decisions and practices throughout this year with knots of my choosing. I was inspired by Nayeli Vega’s question, “What can a knot become and what can become a knot?”
## WEAVING INTO THE TEXT
This thesis expects participation from its reader. You have the
option to have a mode of reading, where you will be guided by strings to
start reading from a certain section according to the type of reader you
are and read the loops one by one until the end, weaving through the
text. To determine the string or mode of reading, there are some simple
questions to answer.
This thesis expects participation from its reader. You have the <sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">Broken knots are knots that aren't tied well, done with a wrong material or was under more pressure than it could take.</span></sup>option to have a mode of reading, where you will be guided by strings to This thesis expects participation from its reader. You have the option to have a mode of reading, where you will be guided by strings to start reading from a certain section according to the type of reader you are and read the loops one by one until the end, weaving through the text. To determine the string or mode of reading, there are some simple questions to answer.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">Bends are joining knots. They attach two strings together. The bend above is a sheet bend and it works well when koining two different strings and can take stress.</span></sup>
The three modes of reading are combine, slide, build. After you discover the starting point with the yes or no map in
the upcoming pages, you will continue the reading journey through the
strings of diff erent colors that will get you through the text. This
way, the linear text will become in a way, non-linear by your personal
experience.
The three modes of reading are combine, slide, build. After you discover the starting point with the yes or no map in the upcoming pages, you will continue the reading journey through the strings of different colors that will get you through the text. This way, the linear text will become in a way, non-linear by your personal experience.
Bear in mind that you can choose to read this thesis from beginning to end as a single string too if you wish so.
Combine mode of reading is for readers who are more interested in the
journey and the connections between process and result. Slide mode of
reading is for more laid back readers who aren’t looking to connect
ideas but are more focused on the motivation and purpose of the project.
Build readers are detail oriented and academic readers who would prefer
a “traditional” lead to reading.
Alongside the different strings to follow the text, there will be
little drawings in the margins as seen above, which will have diff erent
representations like in a Quipu. Certain knots represent the experiences
that raise interesting opportunities for research and distinct events I
went through while making the project and underneath the drawing you can
find the relation to the knot itself explained. For example if I
couldn’t manage to do something I planned to do, this will be
represented with a broken knot. Bend knots which are used to connect two
strings, will be representing the relation between theories and my
ownexperiences/motivations. Hitches which are knots that are formed
around a solid object, such as a spar, post, or ring will be
representing the evidence or data I have collected on the subject. We
move on now with the working end and make some loops!
Combine mode of reading is for readers who are more interested in the journey and the connections between process and result. Slide mode of reading is for more laid back readers who aren’t looking to connect
ideas but are more focused on the motivation and purpose of the project. Build readers are detail oriented and academic readers who would prefer a “traditional” lead to reading.
<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">Hitches are used to tie strings to a standing solid object.</span></sup>
Alongside the different strings to follow the text, there will be little drawings in the margins as seen above, which will have different representations like in a Quipu. Certain knots represent the experiences
that raise interesting opportunities for research and distinct events I went through while making the project and underneath the drawing you can find the relation to the knot itself explained. For example if I
couldn’t manage to do something I planned to do, this will be represented with a broken knot. Bend knots which are used to connect two strings, will be representing the relation between theories and my own experiences/motivations. Hitches which are knots that are formed around a solid object, such as a spar, post, or ring will be representing the evidence or data I have collected on the subject. We move on now with the working end and make some loops!
## HOW TO CHOOSE YOUR STRING
This map will reveal your mode of reading. The order of reading will
be indicated with a loop sign Please hold a string in your hand as you
read the text and make knots or loops as you weave through the reading
as an exercise for concrete thinking. See you at the standing end! and a
number on top of the sign with a color. This is the numeric order you
should follow to read the thesis, if you choose to read with a mode.
This map will reveal your mode of reading. The order of reading will be indicated with a loop sign Please hold a string in your hand as you read the text and make knots or loops as you weave through the reading
as an exercise for concrete thinking. See you at the standing end! and a number on top of the sign with a color. This is the numeric order you should follow to read the thesis, if you choose to read with a mode.
Every reader starts from 1 and continues until 12, with a consecutive numeric order, according to their color/mode.
@ -189,7 +107,7 @@ living matter in us that keeps pulsing. So then I started researching bees and t
read Alan Watts, Alan Lightman, Emily Dickinson, Maurice Sendak, Meghan O’Rourke, Oliver
Sacks, Joanna Macy, Rilke, Montaigne and theories on order in chaos, correlative vision, harmony
of contained conflicts and the mortality paradox. I wrote a lot and erased a lot and fairly
figured out the wisdom of not knowing things.<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">I wrote and deleted and rewrote the story 3 times already.</span></sup>
figured out the wisdom of not knowing things.
Years passed and I wrote and deleted and rewrote the story that I am working on to make interactive
today so many times and was waiting on it because it always felt incomplete. In a way it
@ -197,7 +115,7 @@ will always be incomplete because of the natural ambiguity the topic carries. Ye
back in my life with the loss of my grandfather. So therefore, the story I wrote and abandoned
changed again as I attempted to rewrite it as a diff erent version of myself with a diff erent understanding of death. And this went on… The story remained hidden and I forgot why it ever existed
in the first place.
<sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">I wrote and deleted and rewrote the story 3 times already.</span></sup>
Last year when two earthquakes hit Syria and Turkey, I was drowned like everyone I know, by a
collective trauma and grief. Then this horrible feeling flared up by neglect and desperation. It was
and still is impossible to mourn so many strangers at the same time. I lost two dear friends, I was
@ -212,11 +130,10 @@ story is actually a personal history of how I went through grief in diff erent s
me realise that it doesn’t have to be or even can be a perfect story.
In the end with the experience I had with loss, I believe the story turned out to be an ode to
remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting
remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting.
The effect of storytelling knowledge on kids’ development and creativity. What can
we learn from open ended and multiple ending stories?
@ -253,7 +170,7 @@ be generally described in terms of immersions (spatial, temporal, emotional, epi
world (Ryan, 2009). When we are set to create or co-create a world, the narrative has eff ects
on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to
keep these three emotions.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">Multiliteracy theory helped me ground my passion of using multimedia for children's literature.</span></sup>
Interactive storytelling reminds everyone but especially children that there are limitless endings to
a story that is solely up to the maker’s creation. Learning to think this way instead of knowing or
assuming an end to a story, I think influences the children’s decision making abilities and sense of
@ -290,8 +207,12 @@ rest of this thesis: What is an interactive picture book? Is it a book? Is it a
What is it defined as? How can we design an interactive reading environment without confusing
children?
### Loop 3
Diff erences and similarities between interactive e-books and storytelling games
@ -325,7 +248,8 @@ in mind the limited attention span and memory factors. For children in specific,
very important factors to keep in mind when trying to design an interactive experience. This is because
children get bored very easily and can be disengaged because of failure of solving/understanding
something in a story. This is something I kept in mind as I wrote for children and chose
the interactive elements in the story.
the interactive elements in the story.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">CASA framework helped me understand the key elements in designing for children.</span></sup>
Finding the balance between making the interactive element surprising and making it easy to
interact with is the key to designing for kids in this scenario. We don’t want to make them struggle
@ -333,14 +257,14 @@ and use the limited attention span in a non-engaging way but we want to keep the
enough so they want to continue.
Digging deeper into how to do this, I found Children Computer Interaction (CCI) study very
useful. This study examines how children of different ages and developmental stages interact with
useful. This study examines how children of different ages and developmental stages interact with
digital devices and how these interactions can support their growth. This made me think about
digital gestures; how they change through generations and how to use these to design a platform
where children can navigate easily and freely. CCI suggests that when introducing a new media
to children its better to start easy and clear when they try it. Through this I think the best easy
interaction is the tap or click for children. It is easy to do, instinctive and common. So I decided to
base the interactive elements on click animations.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">CCI was a theory that helped me decide on the interactive elements.</span></sup>
There are multiple ways to use digital gestures in storytelling to make the experience more intriguing.
These are usually elements such as sound, animations, voice-overs that are ignited with a
click or tap by the reader. For children younger than 5, its usually just tapping over the page and
@ -353,6 +277,7 @@ part of a page is interactive by clicking on images. Another thing I found out i
being a part of the story. For the prototype of Bee Within (the story I am using to test interactivity
also can be read in the appendix) I will focus on color, sound and click based animations according
What is the target age group for the designated prototype and why?
@ -363,12 +288,8 @@ day by day increasing interest in play. They can take on roles in imaginative pl
can also share and take turns more, listen and think about rules of a game. They can form friendships
and connections easily.
School age children are between the ages 6-12, which is Wink’s chosen age group is a little diff erent.
These kids can form more rooted friendships and engage in more complex narratives. They
learn to negotiate and compromise around this time as well. This age group is desired for Wink
because kids this age are open to creative problem solving, connecting events and comprehending
slightly more complex narratives. Moreover, this age group would benefit the most from the interactive
stories and the reading process because of the developmental phase they are in.
School age children are between the ages 6-12, which is Wink’s chosen age group is a little different.
These kids can form more rooted friendships and engage in more complex narratives. They learn to negotiate and compromise around this time as well. This age group is desired for Wink because kids this age are open to creative problem solving, connecting events and comprehending slightly more complex narratives. Moreover, this age group would benefit the most from the interactive stories and the reading process because of the developmental phase they are in.
The average amount of time children between these ages use on a daily basis is depending on
their parents and circumstances. But to be fair, it is often not less than 2 hours. If a child isn’t very interested in spending these hours reading a book, why not ask them: “Would you like to be a part
@ -402,7 +323,7 @@ Another aspect I am concerned about after the workshop I did with the kids, is t
due to an undefined and multimodal design for a “book”. Kids tend to be confused when
they can’t define things or are asked to improvise without knowing the purpose.They know what a
book is and that it is similar to what they encounter on the screen. But the method of reading and
interacting with Bee Within is different than what they are used to. This concerns me because they
interacting with Bee Within is different than what they are used to. This concerns me because they
might prefer to just read a book or play a game instead of discovering a new thing, which they
are exposed to daily because they are always in a process of active learning. So one more thing to
learn might come as exhausting. Therefore, in designing, I want to make interactions as clear as
@ -419,7 +340,7 @@ improv games and warmups to involve the kids in the story more and see how they
characters from the picture book.
My first attempt was to make a survey at the end of workshops with kids to whether they liked it
or not, but when I researched further, surveying with kids has very different methods and complications.
or not, but when I researched further, surveying with kids has very different methods and complications.
Most kids either really like or really dislike things. Finding the in between emotions with a survey,
ends up being vague. Most surveys done with kids use emoticons as representation of a good or
@ -466,7 +387,7 @@ and literature has been such a grand topic even before information and technolog
examples to this is music, masks, puppets, props used in storytelling.
Ancient texts with annotations such as The Odyssey, The Mahabharata are maybe the earliest
written interactive experiences in a historical context. They are published with notes and explanations, clarifications which make the text inhabit different opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts.
written interactive experiences in a historical context. They are published with notes and explanations, clarifications which make the text inhabit different opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts.
From the 70s to the present there have been many examples but I will be focusing on a few here.
One of them is, Choose your own adventure books which allowed the reader to participate in
the plot. These still exist as picture books where you are directed to certain pages according to
@ -475,7 +396,7 @@ required interactive inputs. Some examples to this is exploding kittens or cards
where the player has the autonomy to be creative and fill in the blanks to win the game. Simultaneously, text-based adventure games such as Zork and Adventure were popular. Early days of
computing off ered a wide space for exploring virtual worlds. In the early 80s, hypertext fiction
contributed to electronic literature. Hyperlinks were used as a tool to navigate a text and choose
paths of reading. This inspired me to write this thesis with different modes of reading as well.
paths of reading. This inspired me to write this thesis with different modes of reading as well.
After the 80’s, Interactive fiction gained popularity as a genre of interacting with text based input.
Dynabook by Alan Kay was prototyped during this time as a promising reading and writing device
designed for children.
@ -539,7 +460,7 @@ want to see how their understanding changes without a limitation of a story.
Bees in the classroom that day were all very active and they used chairs, tables and windows to
position themselves in a higher perspective. Children who played the kid were usually standing
closer to the trees and looked very calm. Trees were all very different. One of the kids used postits
closer to the trees and looked very calm. Trees were all very different. One of the kids used postits
as leaves. Some of them didn’t have leaves because it is winter. Trees didn’t move at all and
the bees were buzzing all around. “The kid” usually sat near the tree, on the tree (as in the other
performers’ lap or hugged them).
@ -552,7 +473,7 @@ This was a good feedback for me because I realized they are very perceptive of a
expressions rather than words.
The workshop we did in the studio with XPUB 2 students was harder than the session with the
kids because everyone felt so restricted to obligations and were not comfortable to let go of bodily
control. No one actually attempted in using objects from the room which is a huge difference with
control. No one actually attempted in using objects from the room which is a huge difference with
the kids because they drew on their faces, used plastic bags as wings for the bee and made sounds
with their mouths as trees.
@ -564,10 +485,10 @@ broke the ice completely because I was a part of the workshop and they thought I
the next part, I divided the group in three and assigned a character to them. After this, I asked
them to decide on an attitude, pop in the middle and tell or act out their character. I went first
and they followed easily. They were not under the influence of the story so the performances were
different but they still got influenced by each other, which in my opinion is inevitable. Some of the
different but they still got influenced by each other, which in my opinion is inevitable. Some of the
kids were buzzing/running around, the “kids” were walking around, acting like they are playing
which I found very interesting. Some trees were small some were mighty and old. It was helpful to
see the different attributions they gave to the characters.
see the different attributions they gave to the characters.
After the circle session, they separated in three groups: the kids, the bees and the trees. I asked
each group to come up, walk around randomly, embodying the character they chose. Then as I
@ -619,15 +540,15 @@ the character, I wanted to make it more like a game to give the kids a chance an
a part of the story itself.
### Loop 11
The differences of these exercises in WINK than the already existing interactive
The differences of these exercises in WINK than the already existing interactive
e-book platforms
The interactive e-book apps existing today, made especially for children, are quite similar in both
format and purpose. If we take a look at Bookr, Piboco, and Kotobee, we can see they seek a new
way to tell a story but have one mode of reading. The stories are linear and can be read once,
without side quests. This is the main difference with what I am trying to design.
without side quests. This is the main difference with what I am trying to design.
Wink acts as a tool to play with and choose paths. The story isn’t linear in the traditional way
where you interact with the pictures and finish the book but there are side stories to the main
story that they can discover or choose not to. I think this is a solid difference. This makes it a playable narrative, different from a book.
story that they can discover or choose not to. I think this is a solid difference. This makes it a playable narrative, different from a book.
This prototype is a good start to see how far I can get with the interactive elements and side
stories without confusing or discouraging the children. There are many other aspects that can be
