thoughts on conversations

Mark W. Manley (mwm3q@sparc4-5.unixlab.Virginia.EDU)
Wed, 13 Nov 1996 21:07:02 -0500 (EST)

In his article, "Conversations with Friends: Hypertexts with Characters,"
Mark Bernstein introduces some interesting aspect about how
characterization takes place in a hypertext environment. First, he
comments on how most hypertext characterize just as a normal text would.
While there might be multiple characters within a work, the reader clearly
gets the impression that the only real voice of the work is that of the
author. This singular voice also extends to works with multiple authors
as their voices meld into this hybrid voice. He offers the drama as a
type of non-hypertext that allows for multiple characters to foster the
perception of multiple voices. While multimedia is one way offering an
experience more like drama, Bernstein prefers a more zen approach by
allowin the characters to develop seperate voices without multimedia.

Bernstein classifies his multi-voiced characters into three divisions:
the independent, whose traits make him distinctly separate from the other
characters; the persistent, whose prescene exists without the need for
him or her to be in the scene; the intentional, the character intent upon
accomplishing a goal. These characters can interact both with the reader
and between themselves if the author implements them correctly. For
instance, Bernstein describes each character as having a seperate window
on a computer screen that would allow each of them to follow his
guidelines. The seperate windows distinguish one character from another
and allow for the reader to choose the more interactive of the
characters. Each window can also have distinguish features such as
different color backgrounds or typefaces. The common goal of all the
characters is to maintain an interdependent relationship with each other
and the reader. Bernstein also proposes a system of links to organize
the window's behaviors by causing transitions in order of persistence.
They are eager, plain, and timid links in descending order. Through
these links, the author can guide the reader by having each of the
character's needs for attention act as guides. Thus, the author can
direct the reader toward his purpose for writing the work without losing
the sense of multiple voices.

While reading this article, I began wondering what works would follow
Bernstein's model, besides using a computer. I thought about _Pulp
Fiction_ as a potential follower of this example. Tarantino (sp?)
maintains the separateness of each character's story by separating the
movie into three frame stories that interact from the sharing of
characters from frame to frame, the interweaving and non-linearity of the
action in the movie, and the unity of being linked into a frame story.
The frames also allowed for the development of certain characters while
maintaining distinctness. My question is how Tarantino uses Bernstein's
"links" to maintain the action of _Pulp Fiction_ and if anyone can think
of any other/better examples of Bernstein's theory.

Hope this is comprehensible, see ya'll Friday.

MM