Interactive Storytelling, meet interactive protagonist. (Favorite Narrative Assignment)

Ferris Bueller’s Day Off, Burn Notice, The Hitchhiker’s Guide to the Galaxy (film version), Stranger than Fiction; when the word ‘narrative’ is mentioned the first thing that came to mind was the unusual styles that are in these movies and television show. Each story has its narrator speaking to us from beyond the fourth wall, whispering humorous little secrets. What sets Stranger than Fiction apart from the first three directly satirical narrators, is more visual play with irony.

On the surface, Harold Crick (played by Will Ferrell) wouldn’t appear to have a “Man Versus Nature” plot dilemma, as Andrew Glassner discusses in Interactive Storytelling (74). However, the description “the hero struggles against the impartial forces of the universe” (Glassner 74) seems to fit Harold’s situation once he overhears the narration foretell, “Little did he know that this simple seemingly innocuous act would result in his imminent death.” This very snippet of dialogue sends Harold into action, trying to not only solve the mystery of the narrative voice, but getting to that voice in order to resolve the movie’s conflict. Although that is the movie’s plot in a nutshell, the conflicts in the movie could also be defined under “Man Versus Man” and “Man Versus Self.” (Glassner 74) In fact, the main conflict switches back and forth from “Man Versus Man” and “Man Versus Nature” once Harold meets his narrator, Karen Eiffel, and a character within Stranger than Fiction herself. She does fall into the villain category Glassner discusses (75), even though her intentions are not malicious. When Harold calls her on the phone, and Eiffel is typing on her typewriter for him to perform that very action, the two types of conflict flip back and forth with the cuts of the scene. Lastly, While Harold is hunting for Eiffel, and through the course of the story, there are many occasions when the conflict steps back to a simpler “Man Versus Man” conflict. He grows, like Glassner discusses in “The Hero’s Growth” (78).

Of course, Stranger than Fiction has both the object and first person subjective viewpoints, as I’ve mentioned in the opening. Moving on, Harold’s ‘imminent death’ is an example of “Advertising the Future”, a story technique (Glassner 99). In fact, a number of narrative devices are used in Stranger in Fiction. “Coincidence”, another technique, occurs and perhaps most if not all of these, is tied to the plot twists. “Dramatic irony” is not only present, by the ‘imminent death’ example, but mentioned within the film by Professor Jules Hilbert (whom Harold enlists the help of). Harold’s hunt for Eiffel is a good “time bomb”, creating the main suspense in the film. A very good “planting and paying off” is Ana Pascal, who seems nothing more than an angry auditee, at first (Glassner 99-108).

Stranger than Fiction has its share of interesting characters. Harald is not only described as a “man of infinite numbers” but the audiences get to see these numbers as well. The filmmakers animate Harold’s internal calculations and counting with an omnipresent graphic user interface-like display (there’s a very long commentary on the DVD about it) that pops up during the movie. Not only do we hear that Harold is eccentric, but the audience can see it was well. One of the other major characters, Ana Pascal is introduced yelling at Harold, clearly bent on sharing some of her angst with him. Also, Karen Eiffel, the dark author, constantly brooding over her story’s climax, is certainly one our audience wouldn’t find skipping down the street. These ‘exaggerated traits’ are, according to Glassner, commonly found in narrative (39-41). However, I feel they only compliment another character device. Glassner’s “Nested masks” are used in Stranger in Fiction, but are also flipped on themselves (43-47). Starting first mask, Stranger than Fiction does not deter from ‘the true self’ mask. I believe our protagonist obtains this, as well as a “self-image” mask. "Conscience", for our protagonist, is notably different. Simply because the audience member can take note of the loss of the display, Harold’s excessive counting. Also, the audience’s view on Harold’s life being narrated and the non-narrated life can vary, and is open for question. The “World Mask” is established and then flipped on itself, after all, not only is Harold’s world altered by the knowledge he received, so is the audience member’s. After all, when the audience hears smart comment from the satirical Hitchhiker’s narrator, its usually good for a chuckle. However, when Harold becomes part of the audience, he’s hardly laughing when he’s let in on secret.

Stranger than Fiction is appealing as a narrative because while it bends and toys with some of the narrative tools, it doesn’t stray so far that the audience can’t relate. While I do find it interesting to find the use of the narrative tools in the film, I like even better when their use clashes, bends, and is altered. And the witty dialogue to accompany the narration never goes amiss.