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(discussed in the next chapter) and scrolling, and it considers the way that
content is consumed (i.e., the actions of the user who moves the mouse or
their finger to uncover new parts of the visual interface). The user does not
move between story elements by means of menu items and visualized buttons,
but by moving up and down the screen using their finger or cursor.*? Such
a media environment can be seen as a concise, mixed-media representation
in which images, text, music, and multimedia elements can coexist (Sdwert
& Riempp, 2019). Scrollytelling visualization provides the recipient with an
experience of space and time. Like webtoons, scrollytelling narratives can be
received at the reader's own pace, as scrolling allows the reader to control the
speed or content consumption and to return to a particular detail.
CHAPTER 6.
DIGITAL STORYTELLING
A digital story is a narrative created with the help of digital tools, but to
describe it simply in terms of these two components is an oversimplification
of the world of the moving image. Handler Miller (2004/2020) uses the
term digital storytelling primarily to refer to nonlinear narrative types, as
well as all fictional and non-fictional forms of narrative that are created
through user interactivity on digital platforms. In her interpretation, digital
storytelling encompasses a wide spectrum of open-ended narrative types,
from interactive films to transmedia genres to virtual games. However, the
term digital storytelling (hereinafter referred to as DST) actually refers to a
process model of interpersonal interactions and individual creative activities
that involves the use of digital tools and results in a video consisting of still
images and a few minutes of narrative text spoken in the narrator's own voice
(Lambert, 2002/2013; Ohler, 2013).
The basic concept and the methodology of DST were developed by Joe
Lambert and his colleagues at the Center for Digital Storytelling (now
StoryCenter*’) in California in the early 1990s as a means of exploring the
possibilities of community art. The group’s three-day workshops use digital
technology to present and discuss life events in the form of a few-minute
video narrative. The original description of the process is made up of three
steps: finding the story, creation, and sharing. The first stage ’involves the
Story Circle, which aims to help participants find their story and build a
circle of trust through icebreaking, team-building and storytelling games.
This is followed by text creation, the main criteria of which are conciseness,
causality, and the tripartite structuring of the narrative. The group members
read their story outlines to each other, which provides an opportunity for the
participants to discuss whether a coherent, comprehensible and meaningful
3° https://thewaterweeat.com/
4° https://www.storycenter.org/