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about the author…
Andrea Phillips is an award-winning transmedia writer, game designer and author. Her book, A Creator’s Guide to Transmedia Storytelling, is published by McGraw-Hill and is used to teach courses at USC, Columbia, McGill, and many other universities.
Her transmedia work includes a variety of educational and commercial projects, including Floating City with Thomas Dolby, The Maester’s Path for HBO’s Game of Thrones with Campfire Media, America 2049 with human rights nonprofit Breakthrough, Diesel Reboot with Moving Image & Content, and the independent commercial ARG Perplex City. These projects have variously won the Prix Jeunesse Interactivity Prize, a Broadband Digital award, a Canadian Screen Award, a BIMA, the Origins Vanguard Innovation Award, and others.
Her independent work includes the Kickstarted ongoing serial transmedia project The Daring Adventures of Captain Lucy Smokeheart.
Andrea has spoken at TEDx Transmedia, Future of Storytelling, SXSW, MIT Storytelling 3.0, the Power to the Pixel/IFP Cross-Media Forum, and Nordic Games Conference, and many more events.
Andrea cheats at solitaire (a victimless crime) and Words With Friends (which is less forgivable). Consider yourself warned.
In Loco Parentis
by Andrea Phillips
The video stutters at the eighteen-second mark. Yakova knows by heart precisely when it happens. As she watches, she mouths the words along with Autumn. “So this girl just, like, opens up her bag, right?”
And here is where it happens: Autumn elbows her and knocks her glasses off. Yakova knows she should edit it out, those few seconds of skewed and jarring footage as her glasses skitter across the lunch table. Instead, she studies each frame carefully.
Jad is there, nearly off-frame and out of focus, light gleaming off the angled planes of his cheekbones, dark hair curled over his eyes. He starts from his recline, and he looks at her (looks at her!), eyes widening. His hand reaches up, and —
She cuts it off here, before she has to hear her own brassy laugh, before she can hear herself telling Autumn to be more careful. If she doesn’t hear it, she can pretend HE didn’t hear it, either.
She bites her lip, studying Jad’s expression of… concern? It must be concern. Probably. But is it the aloof concern of a bystander, or a more significant concern, floating atop a deep ocean of unspoken feeling?
At the base of Yakova’s skull, her minder, Seraph, uncoils and stretches. “You have homework to do,” Seraph says. When she speaks, it is a warm vibration behind Yakova’s ear, all thought and no real sound. Her voice is the same as Yakova’s mother.
Yakova zooms in on Jad’s inscrutable degree of concern. “Do you think he likes me?” she asks.
The video panel winks out. “Homework,” Seraph says. If she has arrived at any conclusions regarding the boy’s feelings, she keeps them to herself.
Yakova shouldn’t have glasses at all, of course. Not anymore, not at her age. The last two years have seen her friends blossoming into adulthood — one by one peripherals have fallen away, leaving their eyes clear, their faces open and unguarded. Yakova is left behind with a goggle-eyed wall between her and her newly coltish, beautiful peers.