University of Southern California Dissertations and Theses

Transplant: examining culture clash through linear storytelling and non-linear storytelling

(USC Thesis Other)

Transplant: examining culture clash through linear storytelling and non-linear storytelling

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content Copyright 2020 SuyuXiong
TRANSPLANT
EXAMINING CULTURE CLASH THROUGH LINEAR STORYTELLING AND NON-
LINEAR STORYTELLING
by
Suyu Xiong
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
May 2020
ii

Abstract
This thesis project explores two different formats of narrative media. The first is the graphic
journal, usually used for linear storytelling and the second are interactive devices (Virtual Reality
and Augmented Reality) for non-linear storytelling. One of the produced artifacts is a printed
graphic journal in the form of a book titled “Transplant”. This journal, based on my personal
autobiographical experiences, uses the conventions of the graphic novel. To tell a series of cross-
cultural stories. Coming from China to the U.S.A to study design in graduate school has given
me a unique perspective. For the pathos and surprises that have occurred in my daily life. I have
documented these stories in my autobiographical journal. The creation of this graphic journal is
inspired by and founded on my "cultural clash" experiences, which convey the cultural
differences between China and the United States through linear stories. In addition, I expanded
on my exploration of non-linear storytelling by creating an interactive series on the basis of
Virtual Reality and Augment Reality technologies. I place the stories into interactive devices to
embrace new areas of opportunity for non-linear storytelling by sharing and engaging users
through immersive experiences.
Overall, the theme of Transplant and the purpose of this thesis is to demonstrate the
possibilities of linear storytelling in the graphic journal and non-linear storytelling in interactive
devices

Keywords: linear storytelling, non-linear storytelling, interactive device, autobiographic, graphic
journal, cultural clash, Cross-culture management.
iii

Contents

Abstract ii

List of Figures iv

Acknowledgments v

Introduction The Graphic Journal 1

Chapter 1 Concept of the Narrative in Transplant 3

Chapter 2 The Use of Linear Storytelling in a Graphic Journal 5

Chapter 3 Experimental Non-Linear Storytelling Through 6
Interactive Technologies

Chapter 4 Augmented Reality and Virtual Reality 6

Chapter 5 The Use of Nonlinear Storytelling in Augmented Reality 7
and Virtual Reality

Chapter 6 Building Virtual Reality Experience in The Graphic Journal 8

Chapter 7 Building Immersive Experience Though Augmented Reality 12

Theoretical Framework 15

Conclusion 15

Bibliography 16

iv

List of Figures
Figure 1 Transplant, the Graphic Journal 1
Figure 2 Comparing Different Lifestyles 5
Figure 3 A Virtual Reality Application 8
Figure 4 3D Model of The Character 9
Figure 5 User Test 10
Figure 6 Augmented Reality User Test 11
Figure 7 Immersive Environment Created as Augmented Reality 12
Figure 8 3D Viewer Immersive Experience 13

v

Acknowledgments

I would like to express my deep gratitude to Professor Ewa Wojciak, my chair, for her patient
guidance, enthusiastic encouragement and useful critiques of this work. I also want to thank
Professor Laurie Burruss for her advice and assistance in keeping my progress on schedule,
always supporting me and encouraging me unconditionally. I would also like to thank Professor
Jason Fowler Ellenburg for his valuable and constructive suggestions in the planning and
development of this work. I am grateful for his willingness to give his time so generously.
Thanks to Professor Alice Fung, who helped me in doing a lot of research and I introduced me to
discover so many new things, I am really thankful to her.
Finally, I wish to thank my parents for their support and encouragement during my studies.

1

Introduction
The Graphic Journal

This thesis project tells a series of cross-cultural stories based on my personal and
autobiographical experiences. It is a compilation of a variety of books, small pamphlets as well
as interactive devices. The central project is a graphic journal titled “Transplant,” (Fig. 1) which
focuses on comparing the cultural differences between China and the United States.

Figure.1 Transplant, the Graphic Journal

Memories of my life in China and the “new life” started in the United States have played a
significant role in shaping this narrative. This graphic journal is 80 pages, each panel may or
may not have text; the purpose is to let the image complete most of the storytelling and allow
the reader to understand the world directly through the image. The size of the graphic journal is
7 x 7 inches this provides a handy, convenient, comfortable way to read and carry the object.
2

This journal is designed to be a companion for people, whether during a boring commute on the
road or in leisure. The conventional small size of a 7-inch graphic journal strikes a balance
between portability and functionality and easily fits into a deep coat pocket; moreover, it is light
weight, and slips into any bag, and is compact enough to hold it in one hand. Therefore, this size
is the optimal size for the reader’s portable pleasure.
In this ongoing series, a sequence of illustrations demonstrates my strong personal style
and highlights many of the things that I, as someone born and raised in China, have experienced
for “the first time”
1
when encountering people in the United States. Through simple line
drawings and biting humor, I illustrate the impressions that those two different cultures have and
each of their idiosyncrasies. The book utilizes the conventions of a graphic journal to convey
and explore Chinese culture and Western culture and deconstruct stereotypes through the details
of everyday life experiences. This personal perspective provides a platform for the humor, the
disappointments and the surprises that occur in my life.
There are many differences between Chinese and Western culture, from overall lifestyle to
individual demeanor of people. The graphic journal is the form I have chosen that allows me to
tell my story in an intimate, fun and authentic way. Although we are living in a world that is
increasingly connected, the content of my journal depicts how frequently we are not connected
or misdirected in our understanding of each other. Experiencing the different perspectives of
cultures is important. With more empathy, more respectful and constructive dialogue is possible
between cultures. This will allow for greater understanding and connectedness between us. By
comparing Chinese culture with another culture in this journal, the reader perceives cultural

1
T. S. Eliot Quotes. BrainyQuote.com, BrainyMedia Inc, 2019.
https://www.brainyquote.com/quotes/t_s_eliot_109032, accessed December 11, 2019.

3

differences and connections. Unlike the political and stereotypical images often portrayed by
mainstream media, the messages revealed in text and image introduce new perspectives that are
fun, playful and diverse. This journal covers many topics: civilization, humanity, politics,
religion, anthropology, empathy, sociology, morals—allowing the reader to rethink cultural
values and norms on a different scale and to reexamine one’s position as a human being in this
universe.

Concept of the Narrative in Transplant
The narrative of Transplant explores two recurring themes: first and foremost, how I
observe the world. Secondly, it covers how I feel about living in and managing two different
cultures simultaneously. The capstone project, a graphic journal, explores the following three
themes:
1. The differences between China and the United States: the focus is on the everyday
experiences like food, laundry, relationships, and the assumptions people make about
one another.
2. Illustration and narrative text captured through my first moments and reactions to Los
Angeles – the idea of “seeing for the first time.”
3. My “new” life in Los Angeles (including graduate design school at USC) building
upon my original exploration into personal journaling,
When I first left my country, I realized that all cultures are different, and what is obvious to me
may be completely new to many others, and vice versa. I went through a long period of
adjustment and English communication became an obstacle that made me feel lonely and
excluded. I have been trying to overcome these language barriers - not only in everyday
4

conversations but also in professional and academic dialogs. It was during this dark time that I
began recording my life and came up with the idea of creating a journal. As the multidisciplinary
artist, Haruka Ostley said “Creating artworks was the way to communicate beyond the language
barrier”
2
I found that I can easily express myself through drawing and visualize what I want to
communicate in my story. Since then, I have explored the graphic journal independently. Many
people told me that they relate to my story. Therefore, I started to get into a routine and began to
draw on the computer what I saw and how I felt in the best and simplest way. The graphic
journal is my true second language; it has helped me express myself to the fullest in an English-
speaking culture. Revered Japanese mangaka (comics artist), Osamu Tezuka (1928-1989)
claimed, “My experience convinces me that comics, regardless of what language they are printed
in, are an important form of expression that crosses all national and cultural boundaries …”
3

Many graphic narratives create different stories, exhibit and celebrate cultural differences. They
can also be really inspirational. Some examples are ‘Palestine (2001) by Joe Sacco, ‘American
Born Chinese’ (2008) by Gene Luen Yang and ‘Persepolis’ (2007) by Marjane Satrapi. As
Frederick Luis Aldama suggests “utilizing the elements of comics to cue, trigger, and move
reader-viewers to engage with complex schemas of race and ethnicity.”
4

2
Author Editor, “‘Creating Artworks Was the Way to Communicate beyond the Language
Barrier’ - Multidisciplinary Artist Haruka Ostley • Creative Digest,” Creative Digest, May 23,
2016, https://www.creativedigest.net/creating-artworks-was-the-way-to-communicate-
beyondthe-language-barrier-multidisciplinary-artist-haruka-ostley/)

3
“Fall, 2009: Breeze Issue #39,” Japan Foundation Los Angeles | Breeze #39, accessed
December 15, 2019, https://www.jflalc.org/pub-breeze39)

4
“Frederick Luis Aldama (Hrsg.): Multicultural Comics: From ...,” accessed December 14,
2019, https://www.comicgesellschaft.de/wp-content/uploads/2012/11/Rezension012.pdf)

5

The Use of Linear Storytelling in Graphic Journals
As I began my graphic journal, I compared Chinese culture to western culture and wanted to
challenge some of the Chinese stereotypes. I also introduced some aspects of the culture that
many foreigners do not know about. Therefore, I decided to use a naive, but “cute,” simplistic
cartoon style with clear and thick outlines and a limited color palette of orange and blue to create
a straightforward contrast that expresses the contrast in the two cultural perspectives (Fig. 2).
With added personal experiences and insights, the graphic journal illustrates the cultural changes
that I have experienced as I evolved from "transplanting" to “rooting” to “growing”. The reader’s
ability to understand the progress of who I am and how I absorb the different cultures is a critical
component. Simultaneously, I experimented with a variety of different types and sizes of
booklets that might accompany or enhance the understanding of the graphic journal or enhance
the narrative, all of them related to the theme—“Transplant” but each with a different story,
different tone, and drawing style (see Fig. 2). As the narrative developed, I also developed

Figure.2 Compare Different Lifestyle
6

interactive devices and integrated them into several of the books, so the reader is able to use an
application on their smartphone to watch animations online and to use the tablet to encounter
immersive play that toggles between 2D and 3D, applying technologies in Augmented Reality
(AR) and Virtual Reality (VR). The device interacts with or “senses” the main character relative
to the user’s point of through the lens of the camera on either a cellphone or tablet. This
combination offers the reader an unlimited visual experience and can produce incredibly rich
narratives.

Experimental Non-linear Storytelling Through Interactive Technologies
Augmented Reality and Virtual Reality
In the digital age, many diverse and new methods of storytelling are available. This project
pursues a wide variety of research and experimental development of non-linear storytelling and
user interaction with emerging technologies. The story is not only created based on the
traditional graphic journal but also in combination with the multimedia features that are possible
in using augmented reality.
Augmented reality is an interactive experience of a real-world environment where the objects
that reside in the real world are enhanced by computer-generated perceptual information,
sometimes across multiple sensory modalities, including visual, auditory, haptic,
somatosensory and olfactory. AR can be defined as a system that fulfills three basic features:
a combination of real and virtual worlds, real-time interaction, and accurate 3D registration
of virtual and real objects.
5

“Virtual reality is a simulated experience that can be similar to or completely different from the
real world. Applications of Virtual Reality can include entertainment (i.e. gaming) and

5
“Augmented Reality,” Wikipedia (Wikimedia Foundation, December 13, 2019),
https://en.wikipedia.org/wiki/Augmented_reality)
7

educational purposes”
6
. NASA (2016) proposed a more rigorous technical definition of virtual
reality as “the use of computer technology to create the effect of an interactive three-dimensional
world in which the objects have a sense of spatial presence”.
7
Through this experimental
approach, I bridge the gap between digital and physical reality for my readers.

The Use of Nonlinear Storytelling in Augment Reality and Virtual Reality
Augmented Reality and Virtual Reality experiences can provide non-linear storytelling
experiences.
Non-Linear is the more abstract method of storytelling. Instead of following the A to B
method, non-linear stories possess a greater freedom of time travel: they can begin where
they want, and they can end where they want. Non-Linear stories are famous for
incorporating numerous flashbacks, flashbacks within flashbacks, memory sequences, and
many others.
8

Unlike traditional books and animation, which naturally progress in a linear fashion from the
user’s discovery of the narrative from beginning to end, immersive experiences provide
nonlinear routes to established narratives. The end-user determines how the story develops, the
order of the actions, the pacing, and the forward, backward nature of events. This experience
allows the user to influence the outcome and have a unique and individual memory of the story
as a whole. The user can trigger where and when the story happens, including the rotation in

6
“Virtual Reality,” Wikipedia (Wikimedia Foundation, December 11, 2019),
https://en.wikipedia.org/wiki/Virtual_reality)

7
“Virtual Reality.” NASA. NASA. Accessed February 2, 2020.
https://www.nas.nasa.gov/Software/VWT/vr.html.

8
Palmer, Zachary. “LINEAR VS. NON-LINEAR STORYTELLING.” The Odyssey Online. The
Odyssey Online, October 16, 2019. https://www.theodysseyonline.com/linear-vs-non-linear-
storytelling.

8

space, which means they can change positions: up and down, left and right, how much time they
spend on each part of the story and even what they choose to watch or how many times they
watch.

Building Virtual Reality Experience in The Graphic Journal
In conjunction with the graphic journal, some pages of the story are brought to life by adding
specific interactive experiences that are referenced in the graphic journal. In Figure 3, a virtual
reality application includes element of a.) augmented reality animation, b.) augmented reality 3D
character and c.) the user’s interactions with these two components. Since some pages in the
graphic journal have their own image triggers, I embedded the AR animation experience into the
graphic journal. By establishing this AR experience, my first step was to build a 3D model of the
characters (Fig. 4). Next I designed the character and made them as real, life-size creatures

Figure.3 A Virtual Reality Application

9

Figure.4 3D Model of The Character

and finally, I created animations based on the story in the graphic journal. The animated images
combined with sound effects become particularly vivid, powerful and compelling. All these
features combined bring the story to life. The second step was to put the animation into Unity3D,
a real-time development platform for creating 3D, 2D, VR and AR visualization for games,
transportation, film, animation, and interactive experiences. Then I provided visual cues such as
a stable image in the same animation to inform AR camera action. Finally, I built this project on
iOS devices as the application enhances the elements of the story and creates a richer, more
interactive and a more attractive overall experience.
The virtual reality experience is “triggered” by specific images using an accompanying
application to scan the scene and further deepen the user’s connection to the narrative outlined in
the original story. Generally, everyone enjoys the process of using good stories as a form of
entertainment and engagement. To experience virtual reality, users can unlock dynamic images
and short videos by using an application that pairs certain images and allows users to watch
10

stories in the journal in another engaging way. When the user interacts with the characters, an
emotional connection is established with the story. The user can also decide how to interpret the
reality that surrounds them.
Another Virtual Reality experience I designed utilizes the 3D character and an audio track to
create a “hybrid” environment, where the visual nonlinear storytelling takes place in a three-
dimensional way. This story began in the real world — virtual objects are not just covered in the
real world but can be interacted with. In this case, a user remains in the physical environment
while the digital content is added to that environment. In addition, users can interact with virtual
objects. I rendered 3D models based on the main character in the graphic journal that when
activated make the character move and dance as the user targets their smartphone camera on the
image (Fig. 5).

Figure.5 User Test

In experiments with this format, the 3D model had the greatest impact on the user’s experience
when used in combination with audio. Rendered 3D models of my character combined with
dance and sound sequences (in this case, music with a lively dance beat) make the character’s
11

dancing appealing and fundamentally change the user’s experience and perception of the
character. The character becomes “alive” digitally. Users can use mobile virtual reality
applications to overlay scenes, animation, audio, and characters that connect to the internal
sensors already built into the smartphone in order to view the main character in the graphic
journal. Through the lens of a smartphone camera, these devices allow the viewer a new venture
into the world of the original story. Virtual reality objects can be viewed from all angles at a real
scale, giving users a feeling that they are physically close or in the worlds created by the images.
These experiences provide users with the opportunity to be physically interactive with
characters, thus enhancing the significance of the story. Ultimately, the experiences provide
additional narrative content and gameplay experiences that connect users to the narrative. The
use of virtual reality highlights the visual experiences of the readers. Virtual Reality eliminates
the language barriers and provides a solution for designing narratives for an international/global
audience. Readers around the world can now interact with the characters, sets, and objects in the
virtual worlds that I designed.

Building Immersive Experience though Augment Reality
There are three different worlds that I designed to utilize virtual reality tools and technology

Figure.6 Augment Reality User Test
12

for the end-user. In the two-dimensional world, there is the graphic journal and booklets and flat
media. But in augmented reality, a three-dimensional interactive world is created, and then
Virtual Reality is applied to create immersive worlds for the user. In this way, the user can have
the opportunity to enter the character's world, which is more intimate. The user adopts different
perspectives that form his or her understanding of the augment reality world (Fig. 6). For
example, the immersive photos of places and the creation of memories trigger deeper reactions,
in contrast to those images and illustrations that appear in a printed book. Consequently, the
user's reactions to the images are much more emotional since they are “experienced.” When
entering the virtual reality world, the user becomes part of an environment with incentives to act
and respond to the events encountered (Fig. 7).

Figure.7 Immersive Environment Created as Augmented Reality

This also makes the story deeply personal and unique for each end user. Therefore, these
experiences build an emotional connection that enhances and extends the printed story. What is
13

more, the augmented reality allows the creation of a dynamic scene. The character is in constant
dialogue with the physical environment and typically has a lot of interactions associated with it.
This experience all happens through sensors and location detection the giving user the sense of
having control over the character. The users "play" with the character and feel as if this character
is always accompanying them. By wearing a virtual reality headset, a user can actually
participate in the story and move around the 3D environment space (Fig. 8). This positive
experience provides an alternative to traditional reading. By utilizing the different platforms and
exploring these three worlds, the user’s experience is richly and newly shaped.

Figure.8 3D Viewer Immersive Experience

Eventually, people can choose the way they want to experience the characters and the
narrative, either as a graphic journal, a book of AR, VR headset, or a tablet as a digital
interactive graphic journal with animations, soundtracks, and interactions. A key function is the
user exploring the unique ways in which they are able to read, see, and discover the story.
14

First and foremost, drawing and graphic design provide a way to show my feelings — a way
to discover who I am and to reveal that to the end-user/reader. The experience of living in
multiple cultures allows me to see things from others’ perspectives, thus being more
understanding. It allows me to have more empathy and be less judgmental towards people that I
meet. It also makes me realize how we tend to consciously or unconsciously take the
arbitrariness of our own culture as the “standard,” against which we judge others. I found endless
joy in learning and discovering, other cultures and people and places, which in turn inspired me
to create. This series of design, including the autobiographical journal and the explorations of my
“cultural clash” experiences, are the basis for my on-going body of work that targets
international students, immigrants or anyone moving overseas, and those who relate to cultural
change and the meaning of what is often termed “lost in translation.” This graphic journal builds
a bridge between American culture and Chinese culture, creating a new perspective for people to
see their own culture and to learn about the different values and different cultures.

Theoretical Framework
Through my work, I have built a bridge between different cultures. I utilized various devices
to create stories with different perspectives in an attempt to arouse public awareness and to see
one’s own culture in a different way. In Edward W. Said's 1993 book Culture and Imperialism,
Said points out that “cultures actual assume more "foreign" elements, alterities, differences than
they consciously exclude.”
9
He believes that these differences are the basis for the connection
between east and west, and based on these differences, east and west are able to influence and

9
Said, Edward W. Cultural Imperialism. New York: Knopf, 1993.

15

shape each other's history and culture. Today, the rapid expansion of globalization in various
fields will undoubtedly make east and west more similar. Therefore, the more globalization is
strengthened, the more countries, nations, and localities need to reaffirm their differences and
rely on their identities while share their customs and values.

Conclusion
In Transplant, I create a dialectical world that provides people with an opportunity to discuss
and share their cultural perspectives and observe the small but important things we take for
granted. My point of view relates to understanding different cultures and their cultural by-
products. I attempt to build cross-cultural bridges and improve understanding and appreciation
between different cultures. In doing this design work, I hope that the results can eliminate
people's geographical and psychological boundaries so that our differences become the starting
point for communication and understanding. Built on the foundation of traditional graphic
journaling, I also explore non-linear narratives through new media—augmented reality and
virtual reality. With the additional functionality of argument reality and virtual reality non-linear
storytelling features, the user's environment changes and immerses them in the narrative, thus
providing the opportunity through storytelling to build deep connections and lasting impressions
with the user. These new experimental approaches promise much to both linear and non-linear
storytelling in the future of storytelling and designing interactive experiences.

16

Bibliography
T. S. Eliot Quotes. BrainyQuote.com, BrainyMedia Inc, 2019.
https://www.brainyquote.com/quotes/t_s_eliot_109032, accessed December 11, 2019.

Author Editor, “‘Creating Artworks Was the Way to Communicate beyond the Language
Barrier’ - Multidisciplinary Artist Haruka Ostley • Creative Digest,” Creative Digest, May 23,
2016, https://www.creativedigest.net/creating-artworks-was-the-way-to-communicate-beyond-
the-language-barrier-multidisciplinary-artist-haruka-ostley/)

“Fall, 2009: Breeze Issue #39,” Japan Foundation Los Angeles | Breeze #39, accessed December
15, 2019, https://www.jflalc.org/pub-breeze39)

“Frederick Luis Aldama (Hrsg.): Multicultural Comics: From ...,” accessed December 14, 2019,
https://www.comicgesellschaft.de/wp-content/uploads/2012/11/Rezension012.pdf)

“Augmented Reality,” Wikipedia (Wikimedia Foundation, December 13, 2019),
https://en.wikipedia.org/wiki/Augmented_reality)

“Virtual Reality,” Wikipedia (Wikimedia Foundation, December 11, 2019),
https://en.wikipedia.org/wiki/Virtual_reality)

Edward W. Said. Orientalism. Pantheon Books Publishers,1978 Edward W. Said. Culture and
Imperialism. Vintage Digital, 2014.
Building Stories Quotes by Chris Ware. (n.d.). Retrieved from.
https://www.goodreads.com/work/quotes/19154202-building-stories

Folman, A. (., Frank, A., & Polonsky, D. (. (2018). Anne Franks Diary: The. Graphic
Adaptation. New York: Pantheon Books.

Yang, G. L. (2017). American born Chinese. Brantford, Ontario: W. Ross MacDonald. School
Resource Services Library.

Schmidt, E. F. (2010). Persepolis. Chicago: University of Chicago Press.

Gloeckner, P. (2015). Diary of a teenage girl: An account in words and pictures. Berkeley: Frog.

Baetens, J., & Frey, H. (n.d.). The graphic journal: An introduction. New York: Cambridge
University Press.

Spiegelman, A. (1992). Maus. New York: Pantheon Books.

McCloud, S., & Martin, M. (2018). Understanding comics: The invisible art. New York, NY:
William Morrow, HarperCollins.

Pearson, L. (2013). Hildafolk. London: Nobrow Press.
17

Sattouf, R., & Taylor, S. (2018). The Arab of the future. a graphic memoir. New. York:
Metropolitan Books/Henry Holt and Company.

Abstract (if available)

Abstract This thesis project explores two different formats of narrative media. The first is the graphic journal, usually used for linear storytelling and the second are interactive devices (Virtual Reality and Augmented Reality) for non-linear storytelling. One of the produced artifacts is a printed graphic journal in the form of a book titled “Transplant”. This journal, based on my personal autobiographical experiences, uses the conventions of the graphic novel. To tell a series of cross-cultural stories. Coming from China to the U.S.A to study design in graduate school has given me a unique perspective. For the pathos and surprises that have occurred in my daily life. I have documented these stories in my autobiographical journal. The creation of this graphic journal is inspired by and founded on my “cultural clash” experiences, which convey the cultural differences between China and the United States through linear stories. In addition, I expanded on my exploration of non-linear storytelling by creating an interactive series on the basis of Virtual Reality and Augment Reality technologies. I place the stories into interactive devices to embrace new areas of opportunity for non-linear storytelling by sharing and engaging users through immersive experiences. ❧ Overall, the theme of Transplant and the purpose of this thesis is to demonstrate the possibilities of linear storytelling in the graphic journal and non-linear storytelling in interactive devices.

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

Visualizing text as storytelling

PDF

Object stories for social connectivity: a digital service that improves social interactions through object’s storytelling

PDF

Behind the tea: Chinese history and the culture of tea

PDF

Using fantasy storytelling to raise awareness on environmental issues

PDF

Game character design and cultural export

PDF

Revving up: exploring the intersection of automobile racing and graphic design

PDF

Exploration and reflection: a precipitation of personal memory and experience

PDF

Perceiving the environment through sound

PDF

Pushing design limits: expanding boundaries of graphic design

PDF

Qìn

PDF

Dark cloud cleaner: virtual reality interactive film production

PDF

Designing a personal narrative through collaged mass-market images: traditional collage and digital collage

PDF

Building the digital dreamscape: virtual worlds, the subconscious mind and our addiction to escapism

PDF

Post modern UI/UX, an anti-design manifesto for 21st century

PDF

Space/home: rethinking space in a 2D context

PDF

Co-dressing: designing across cultures

PDF

Past imagination, present creation and the reality of tomorrow: explore the impact of Augmented Reality (AR), Virtual Reality (VR), and Mixed Reality (MR) design

PDF

Visions in verse: dialogues across cultural realms

PDF

Visualizing the effects of cultural communication on the individual: Confucianism and new family structure

PDF

A sense of joy

Asset Metadata

Creator Xiong, Suyu (author)

Core Title Transplant: examining culture clash through linear storytelling and non-linear storytelling

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Publication Date 04/30/2020

Defense Date 03/01/2020

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag autobiographic,cross-culture management,cultural clash,graphic journal,interactive device,linear storytelling,non-linear storytelling,OAI-PMH Harvest

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wojciak, Ewa (committee chair), Burruss, Laurie (committee member), Ellenburg, Jason (committee member), Fung, Alice (committee member)

Creator Email suyuxion@gmail.com,suyuxion@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-293701

Unique identifier UC11663532

Identifier etd-XiongSuyu-8383.pdf (filename),usctheses-c89-293701 (legacy record id)

Legacy Identifier etd-XiongSuyu-8383.pdf

Dmrecord 293701

Document Type Thesis

Rights Xiong, Suyu

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA