I would consider myself, as much as I would consider most people in my generation, to be a video essay connoisseur. In Evan Puschak’s How YouTube Changed the Video Essay, he mentions that over 65% of people are visual learners. While it can be said that reading the written word allows for our imaginations to roam, the video essay can convey a point or argument differently. The video essay immerses us into the ideas the author intends to illustrate, with more creative control from the author. A major factor differentiating the video essay from the written one is the ability to use vocal inflections to convey sarcasm, emphasize specific words–or even pictures alone to communicate the message.

The video essay I chose is one I watch and rewatch often: Yugopnik’s “Why Leftists Can’t Enjoy Anything.” Yugopnik’s video essay style is relatively unique, honing a high level of visual chaos — fast-paced cuts, maximalist memes, and very unserious images while discussing very serious topics. The absurdity of the visuals he uses helps to push that argument: that much of what we accept as normal in society is anything but that. Additionally, his use of language is far more similar to how we speak out loud with one another, as opposed to the language we use to write academic papers. While anyone could listen to the audio of this video and understand the gist of his message, the use of images and video clips further pushes the audience’s connection with the message. He uses clips from widely known shows and movies to haphazardly thrown-together images that look like they were edited in Picsart, along with text that does not match the words being spoken. He has a clear understanding of what the dopamine-hungry mind needs to keep its attention.

My final project explores montage editing in a video essay format. I went with a 90s aesthetic camcorder of a forest, and stylistically made it like a personal diary entry. I was inspired by no specific video in particular, however, I was trying to mimic the nostalgic feeling of the late 2000s YouTube vlogs. They still exist today in crisp 1080p, but I found a new digital camera at Goodwill and immediately knew how to utilize it. I also felt that the theme of change worked well because, in a sense, graduating (at least at my age) feels like that final step into becoming an adult, and the video is a sort of diary on this trail that I spent a lot of time on in my youth. It showcases how change is inevitable, yet it is necessary to grow. That fear of growing up is still and probably will always be prevalent, and I believe this is a pivotal moment in my life. While I am accepting of change, by revisiting the trail conceptually and trying to fit the aesthetics of the 90s stylistically, I try to convey a bittersweet clinging to and release of my youth. The trail has changed in many ways, some good, some bad, but because of changes like these, I have also changed to become a better person. I focused on still and panning shots because my camera is only 480p, and the digital zoom was abysmal at best, and I felt that the restriction of only shooting close/far shots allowed me to be more creative in how I framed and told the story. Originally, I had planned on focusing mostly on wildlife, i.e, squirrels, birds, snakes, crawdads, but they were not interested in being a part of the project, so I had to focus more on the storytelling aspect to make it interesting. After reworking the script due to the lack of wildlife, it led me to feature my cats, which is the best part of the project!

Back in 1982, video artist Bill Viola imagined the future possibilities of digital video, coining the term “data space”. He saw it not just as storage, but as a potential new kind of place—a “conceptual geometry”—that could be explored by a “participant” rather than a passive viewer. Decades later, Netflix’s interactive film Black Mirror: Bandersnatch seems like a tangible, though complicated, step towards this vision. Bandersnatch throws us directly into interactive storytelling, letting us make choices for the main character, Stefan, and actively shaping the branching narrative. For many, myself included, it was an undeniably entertaining and immersive experience. Trying to uncover all the endings, seeing the direct consequences of our choices, and catching the clever links within the story was certainly engaging.

However, the sheer number of paths and potential outcomes could also feel overwhelming, sometimes making it difficult to track exactly how one decision led to a specific scene or ending. This highlights a core question about the interactive format. Interestingly, Viola anticipated structures beyond simple branching paths even back then, wondering about more fluid ways for a participant to navigate information and feeling that relying only on standard logic could be limiting. While Bandersnatch‘s A-or-B input mechanism might seem basic compared to Viola’s more complex theoretical models, the film compensates with remarkable narrative depth that itself explores non-linear ideas. Think of the scene where Colin discusses multiple realities during an LSD trip – if you choose for him to jump, seemingly to his death, he unsettlingly tells Stefan he’ll “see you next time.” Later, Colin can reappear via a delivered tape, blurring the lines of reality and consequence within the story itself. Even his casual acceptance and assistance if the player chooses for Stefan to kill him points to a narrative grappling with complex themes of free will, determinism, and the nature of reality, pushing beyond simple choices. This narrative complexity arguably engages with Viola’s interest in exploring different psychological states, even if the interface is simple. As Viola noted, the potential of technology requires introspection, stating, “…development of self must precede development of the technology or we will go nowhere…”.

So, where does this leave interactive storytelling? While Bandersnatch was a fascinating cinematic experiment, its complexity and the relative lack of similar follow-ups suggest the film format might have limitations for this kind of narrative. Currently, video games often seem better equipped to handle intricate branching stories. Games like Detroit: Become Human or The Quarry, while perhaps imperfect, adopt cinematic visuals but integrate choice-based mechanics within an infrastructure designed for interactivity, sometimes even providing clearer feedback or ways to track narrative paths. They offer a space where deep branching feels more natural to navigate. While film offers unparalleled live-action cinematic quality, the future of complex interactive narratives might lean more heavily towards gaming platforms that can better support the intricate structures required. Ultimately, pushing the boundaries in either medium requires creative thinking beyond established formulas. As Viola put it, “Artists have been to different parts of the brain, and know quite well that things don’t always work like they told you in school”.

Video essays offer a unique medium to explore complex ideas, blending a good academic feel with cinematic flair. Asa Park’s “How One Man Revolutionized Music,” which delves into Damon Albarn’s influential career, serves as an excellent case study in how spoken word interacts with imagery and sound to build a compelling narrative.

Asa Park’s essay masterfully intertwines various elements to support its central thesis about Albarn’s innovative spirit:

• Narrator and Voice-Over: The narrator’s spoken word guides the viewer through Albarn’s journey. It provides context, analysis, and transitions between different phases of his career, from Blur’s initial rise and the “battle of the bands” to the brilliance of Gorillaz songwriting and his consistent defiance of trends. The voice-over isn’t just informational; its tone and pacing contribute to the essay’s overall persuasive power.

• Text: On-screen text is used contextually, primarily to identify speakers in interview clips or introduce key concepts and dates. This textual language works in tandem with the voice-over and visuals, ensuring clarity without overwhelming the viewer. Animated text effects occasionally add another layer of visual engagement.

• Sound Design and Music Integration: The essay’s audio mixing is very detailed and well done. The narrator’s voice often coexists with on-screen audio (like crowd noise or interview snippets) and a fitting background music score. Additionally, the essay strategically uses Albarn’s own music to emphasize a specific point, stylistically, to further the essay’s argument. Sound effects, like shutter clicks, are also synchronized with visual cuts to enhance the essay’s rhythm and impact.

• Graphics and Visual Editing: The visuals are constantly changing and multi-layered. Asa Park captures a multitude of footage– old performances, interviews, music videos, archival shots, album art, news clippings – creating a variety and density of visuals. The editing is notably fast-paced, with most shots lasting only a few seconds, demanding the viewer’s attention. Longer segments are reserved for moments requiring specific emphasis. Editing techniques like highlighting subjects within a paused frame or juxtaposing different types of footage (e.g., a music video playing on an in-scene TV) add analytical depth.

While the technical execution is impressive, the production occasionally feels almost too polished. The seamless editing, crisp visuals, and perfectly staged narrator segments contribute to a highly professional feel, yet perhaps verges on feeling overly crafted, almost AI-like. The video is lacking a sense of raw authenticity or personal stylistic imperfection that might otherwise ground the piece.

Through this combination, the video essay doesn’t just tell us about Albarn’s impact; it shows and makes us feel it, using a blend of spoken word and modern audiovisual techniques. The integration of these components creates an immersive and convincing exploration of its subject.

Thinking about how I’d start writing my own video essays in the future, I suppose I’d first need a clear idea or argument I wanted to make. Then, drawing inspiration from some of Asa Park’s techniques, I’d think about how different elements could work together. I’d consider how voice-over could guide the viewer, how I might use text sparingly for key info, and how layering sound or using specific visual cuts could help emphasize certain points. I would definitely need to capture a library of footage intentionally rather than just a handful of clips that I used in my own recent video essay.

This is the final version of for my 491 final. New additions include:
– 4 more endings
– New introduction title cards
– New name (was “Keyboard and Mouse” and is now “The Keyboard & The Mouse”)
– Thumbnails are all now just the word on a black background as to not spoil the choices leaving audiences more curious

This project utilizes:
– Networked Video (Using the YouTube Platform)
– Looped Video (See the “Delete” ending)
– Montage Video (See the “Italics” video)

https://www.youtube.com/watch?v=pLA6co19N0k

I will be releasing this video to my YouTube channel soon just as another experimental work. I am decently pleased with it compared to my last “choose your own adventure” work, but I know there is more to be learned… I will make another choose your own adventure work again.

-Rylan Eisenhauer

dtc-wsuv.org/asterle23/HTML

https://dtc-wsuv.org/vclark23/HTMLCINEMA