ABSTRACT
Common sense suggests that digital storytelling encompasses all kinds of computermediated activity, from the user-generated content of YouTube to digital journalism, blogging and the commercial transmedia franchises that followed in the wake of blockbusters such as Star Wars and The Matrix (Jenkins, 2006: 93ff) but that are now increasingly standard in the media industry (Edwards, 2012). Such a generic understanding of digital storytelling also extends to non-linear media such as computer games, where players co-create the narrative action through gameplay. In media studies, all these possibilities have pointed to the disruptive influence of the ‘digital’ qualifier in the control architectures of communications systems, the interpersonal senderreceiver relations of ‘storytelling’ practices and the political economies of media institutions, markets and networks, as well as broad transformations taking place in human culture, communication and cognition (Erstad and Wertsch, 2008: 26).
