The Reading Model

When you decide that you want to read this hypertext, you must know that there are two ways:

1. The writer’s proposal (More or less a linear model)

2. Your own proposal.

To have a look at the text in a linear way, you only have to click on the arrows that appear under the text in every part of any of the texts. The story starts in the character you have clicked but, at a certain point, the arrow changes it colour, meaning that the story is going to follow but in another character. So, the story has got many endings but in the end, the personality of the characters does not change.

Another way of reading the tales in a linear way is the one I have done; when the arrow changed its colour (meaning that I would change the story, but the topic would be the same) I changed the number from the URL (F.ex. http://www.wordcircuits.com/gallery/changing/Rita2.htm -> http://www.wordcircuits.com/gallery/changing/Rita3.htm) till the end, so I assured that I read the complete tale of every character.

If you decide to read it on your own way will be interesting, because there is a mixture of stories and characters. What I understand when clicking with any order, only following the instincts of clicking faster and faster (when doing this, the underlined word that is grey, becomes light and, if when you have just returned for the first time from the previous link, put the cursor over the word and will become red) I realise that the links are thematic; that is to say, that the links do not follow the plot, they follow the feelings and sensations of the character what is very interesting because, in the end, you discover that most of them share the same feelings.

Finally, when clicking in some words such as “breathing”, surprisingly, we are not carried to another fragment of another tale, we are carried to a picture that reflects the situation of the main character and then, when clicking over the picture is when we can follow the story. Another example is in Clara’s tale, in the tenth part, the underlined words twisting downward open another window where a picture represents what the words are expressing, and finally, in Clara’s eleventh screen, there is a simulation of the note that Gifford has written to her.

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Academic year 2008/2009
© a.r.e.a./Dr.Vicente Forés López
© Diana Descalzo Conde
diades@alumni.uv.es
Universitat de València Press