Interactive Narrative Research Papers - Academia.edu (original) (raw)

This conversation takes place in Warsaw. Carolyn Ellis has come to Poland to accompany Jerry Rawicki, a Warsaw Ghetto survivor, on his first trip back to Poland since the Holocaust. There she arranged to meet Marcin Kafar, a scholar in Poland who has spent time with her at the University of South Florida in Tampa, Florida. During this visit, Marcin assists Carolyn with video recording Jerry’s experiences as they visit Holocaust sites, and Jerry remembers and reflects on his experience. Afterwards, Marcin converses with Carolyn about autoethnography, storytelling, and the importance of life in the context of searching for ethos by academics.

- by and +1
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- Communication, Humanities, Qualitative methodology, Auto-ethnography

Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction provisoire face à un récit inachevé. Bien qu’une mode esthétique et théorique ait tenté de nous convaincre que ce plaisir était honteux, on peut néanmoins avoir l’intuition que le cœur vivant de la narrativité réside précisément dans ce nœud coulant, toujours plus serré à mesure que nous progressons dans l’histoire, qui nous attache à l’intrigue et creuse la temporalité par l’attente impatiente d’un dénouement. Si le récit a quelque chose à voir avec la manière dont nous éprouvons le temps, cette expérience n’apparaît jamais avec autant d’éclat que dans le suspense, la curiosité ou la surprise qui font la force des intrigues fictionnelles. La compréhension des fonctions narratives engage donc non seulement l’analyse littéraire, linguistique et sémiotique, mais aussi l’analyse cognitive et la psychologie des émotions.

- by Raphaël Baroni
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- Discourse Analysis, Semiotics, Interactionism, Cognitive Psychology

This is the promotional text for the book, due out October 2015

- by Edward Melcer
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- Psychology, Computer Science, Educational Technology, Video Games and Learning

L'ipotesi che qui si intende proporre punta ad una definizione articolata di "scrittura elettronica", in modo da verificare se la povertà degli esiti narrativi degli ipertesti non dipenda dal fatto che l'autore di ipertesti non controlla ancora completamente le possibilità che gli vengono offerte dallo strumento.
In particolare si insisterà sulla necessità di dare rilievo allo spessore, alla profondità, alla stratificazione del testo elettronico: si tratta infatti di superare l'opposizione linearità/reticolarità, su cui si è incentrata soprattutto l'attenzione dei teorici e degli autori, in quanto opposizione che continua a giocare su un unico piano, in una prospettiva ancora bidimensionale.

- by Giulio Lughi
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- Creative Writing, Digital Media, Video Games, Literary Theory

The introduction of innovative methods of statecraft institutionalised surveillance in the name of good governance. The modernization of surveillance initiated censorship that was legitimised in India by the British government during the colonial period. The Indian government appropriated the concept of censorship from the colonial masters, and exhibited and justified, more often than not, in a perverse manner, that depiction of sexually explicit contents and representation of contentious events that may lead to communal clashes will be

We present results from a user study of the Reading Glove version 2.0, a combination wearable and tabletop interactive narrative system. The system was designed to study user perceptions of adaptivity. The system’s reasoning engine guides users through the story using three different recommendation modes: random recommendations, story content-based recommendations, and user model based recommendations. We look at the differences in user behaviour and experience across the three recommendation systems, using information from system logs and user surveys and interviews.

The programme that we have developed at the University of the West of England over the last five years explores the creative potential of new media by centring on storytelling. This paper describes some of the key issues arising from this... more

- by Judith Aston
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- Interactive Narrative

Challenges and storytelling are mutually exclusive because challenges are tasks with short breath, perspective and horizons for easy entertainment, while storytelling comes with wide horizons, long breath, holistic vision, deep contents, complex relationships along the time dimension for expressing sublime art. Stories are interrupted by challenges. Challenges are the product of a ludic approach to games; but it can exist also a narrative approach, games without "ludum". If gameplay is aimed at challenges, there is no room for expression of stories and contents, which are therefore confined in cut scenes or documents; but that's not interactive narration, it's a coupling of electronic toys & digital cinema. Today narrative design has a wrong approach because story is build around challenges. First has to come story, then mechanics and algorithms for telling story. We need no challenges, but varied actions, mechanics, contexts and situations for moving stories forward through interactivity and processing, just as in Edith Finch. The key is: not to confine narration in cut scenes or documents, but make the flow of events interactive and playable! All actions useful for determining events and relationships should be executed in gameplay through varied mechanics; all situations and contexts necessary for storytelling should be experienced in real time.

- by Anne-sophie Collard
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- Interactive Narrative

This paper outlines a roadmap for interactive narrative research that integrates disparate parts while focusing on identifying and experimentally veri‐ fying IDN design conventions and on developing a pedagogy to further the devel‐ opment of a professional discipline of IDN creators. This effort connects several key areas, in which the authors have worked before and which are now brought together. These include a specific theory, an approach towards interactive narra‐ tive design and its evaluation, an expanded understanding of the manifestations constituting the field, the pedagogy of educating creators of IDN artifacts and a perspective on the cultural significance of these creative expressions as tools to represent complexity. Keywords: Interactive narrative models · Interactive narrative design · Interactive narrative art · Interactive narrative pedagogy · Narrative representations of complexity · Protostory · Protoprocess

- by Hartmut Koenitz and +2
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- Narrative, User Experience (UX), Video Games, Video Game Design
- by Christian Roth
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- Interactive Narrative, User eXperience, Interactive Storytelling, Conceptual Model

La tecnología se ha convertido en un factor disruptor en todos los
ámbitos, su mediación está permitiendo nuevas formas de comunicación y participación social (Rheingold, 2004). En esta ocasión queremos abordar cómo la tecnología puede facilitar los mecanismos de reconciliación social en sociedades fracturadas por conflictos.
Uno de los retos más difíciles tras un conflicto es recuperar la paz
social y crear puntos de encuentro entre colectivos contrapuestos. Esta
labor requiere de un gran trabajo de mediación, pero también de la
construcción de un imaginario social compartido, que rompa con las
visiones enfrentadas que suelen darse en los procesos de conflicto.
Con este fin vamos a analizar el uso de la no ficción interactiva y en
particular del documental interactivo que trabaja temáticas de mediación social en sociedades fracturadas.

Abstract. The goal of this study was to gain insight into the user experience of a recent hypernarrative interactive movie. Turbulence is a feature-length interactive narrative video and emphasising low frequency interaction, simultaneous optional plotlines and seemingly counter-agency moves. Eight participants took part in a phenomenological study of their experience, from which several directions for further study emerge.

- by Noam Knoller
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- Computer Science, Video, Interactive Narrative, Interactive Digital Storytelling

The concept of migration can be defined as physical space changing. Immigration defines the migration act as well as the difficulties encountered in adapting to new worlds. Their children, named as secondgeneration, adapted more easily than their parents to the new country. These people, described as "hybrid," benefited from the advantages of hybridization, but, at the same time, they experienced the complexity of identity and culture. One of these people is Fatih Akın, who is a child of a family that immigrated to Germany to work. Akın has used his versatility sourced from his immigrant identity and addressed the phenomenon of migration from different perspectives. Akın, who is in an important position in cinema concept described as "cinema of migration," has been awarded many awards in international film festivals. In this study, the concept of migration and immigrants in the Fatih Akın cinema was examined. In the study, firstly concepts such as migration, immigration, migrant cinema were discussed; then the findings were interpreted and finally discussed in the conclusion section.

- by Recep Yilmaz
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- Narrative, Immigration, Immigration Studies, Migration

L’article présente un genre particulier de récit, le feuilleton médiatique. Il s’agit d’articles de presse qui suivent un événement réel (p. ex. un conflit, une affaire, etc.), provisoirement inachevé ou incomplet, et dont la narration se poursuit au-delà du numéro quotidien. L’information tend ainsi à s’inscrire dans une série qui finit par prendre les contours d’un véritable feuilleton, avec son nœud, ses rebondissements et son éventuel dénouement. Ainsi, loin de fournir un récit atomisé constitué d’unités discrètes et autonomes, le feuilleton médiatique apparaît partiellement structuré et suit une logique séquentielle alternant mises en tension et résolutions de l’intrigue, liages en aval (anaphore, rappels, identifiants) et en amont (cataphores, hypothèses sur la suite, etc.). Dès lors, en l’absence d’une instance narrative centralisée qui aurait pour tâche de planifier l’intrigue, le feuilleton médiatique invite à s’interroger sur la nature de cette « intrigue naturelle » qui émerge au cœur du quotidien, et il nous conduit à reconceptualiser cette notion théorique centrale, aussi bien pour la linguistique textuelle que pour la théorie du récit.

- by Raphaël Baroni
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- Media Studies, Narrative, Narrative Therapy, Cognitive Narratology
- by Sebastian Bevensee
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- Interactive Narrative, Embedded, Emergent, Environmental Storytelling

How do we write stories for interactivity? From a storyteller's perspective, the notion of interactivity challenges the traditional conception of telling stories, defined by an author-driven narrative and a receptive audience. Interactive technologies have pushed the boundaries of those traditional rules, giving storytellers the opportunity to question, redefine and play with conventions almost two thousand years old. This ongoing research focuses on how are our traditional storytelling techniques and strategies affected by the emergence of interactive media, and on how do we adapt what we already know about narrative into an interactive storytelling. 'The Hunter & the Wolff' is an interactive, plot-driven, loose adaptation of the traditional tale 'Little Red Riding Hood', which aims to test the idea of hands-off interactive storytelling in Cinematic Virtual Reality (CVR), by using the Object Based Media (OBM) approach to contents built with reconfigurable prerendered assets. This paper reflects on the process of writing and design of an interactive story within the mentioned frame. It specifically focuses on the development of two elements: a script and a hands-off interactive model for CVR, developed simultaneously to reinforce the narrative and interactive concepts in both media. From a narratologist's perspective, this project explores the possibility of an interactivity that gives users agency over the storytelling devices and techniques instead of affecting characters and environment, what I'm calling On-Narration Interactivity. This creative writing and design process approached the limitations for interactivity in CVR through spatial storytelling techniques; Designing a reconfigurable soundscape with OBM with both dramatic and interactive purposes; Writing a story that facilitates a leaned-back hands-off interactivity and Proposing a type of interactivity based on instant and instinctive reactions. All these challenges merge together in the proposal of an On-Narration Interactivity, aimed to give users the agency to affect the narration instead of the storyworld.

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3,... more

- by Joshua B Mailman
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- Discourse Analysis, Semiotics, Evolutionary Psychology, Music

This article investigates the existence of different kinds of User
Generated Content (UGC) and the connection between UGC and some narrative structures of the media product itself. The corpus of the analysis is constituted by videogames and the UGC related to them, in particular Halo and Metroid series and illustrates how small differences in, for instance, character presentation may influence both player’s understanding of the character itself and the kind of production is mainly created in the subject.‎

Narrative action in its meaningfulness, is the presentation of the author‟s view of reality: an imparting of an inter-subjective experience to the audience. This paper proposes a view of narrative that is relevant to the apparatus and the nature of user experience in immersive IVEs: as an aggregate of temporally successive experiential states. Narrative action is a structuring operation of elements and constituents of the story world towards that end. To the audience, a narrative is always emergent. This paper defines a concept called Narrative State, which refers back to the user state for narrative order in emergence, and identifies the progressive elements of a narrative. Since the participative user is also a narrative element, the system needs a regulatory mechanism that works on user states simultaneously.

- by Shachindra Nath
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- Emotion, Virtual Environments, Dramaturgy, Interactive Narrative

This is the second edition of Robert Pratten's massively popular Getting Started in Transmedia Storytelling. It's a practical guide to developing cross-platform and pervasive entertainment written by a thought-leader and early... more

A number of VR storytelling experiences transport their users to representations of real world sites in which there has been death, pain, suffering, and tragedy. Much of the current scholarship regarding these VR experiences grapples with their technical success or failure. Less explored are the philosophical and ethical implications of transporting users to such dark sites. In an effort to fill in a knowledge gap, research from the field of dark tourism studies will be used to inform how VR stories might morally construct their representations. For over two decades, the field of dark tourism has grappled with the ethical planning, managing, and facilitating of tours at sites where atrocities, crimes, disaster, tragedy, and death have occurred. Dark tourism tour guides, interactive storytellers in their own right, have negotiated these dark narratives for centuries. This paper proposes that visits to dark tourism sites in VR should not just parallel current models of dark tourism but utilize the affordances of the medium to facilitate new opportunities for ethical compassion and understanding in the mediation of mortality. A foundational step toward an ethics for these kinds of dark VR experiences is put forward for future discussion.

The goal of this study was to gain insight into the user experience of a recent hypernarrative interactive movie. Turbulence is a feature-length interactive narrative video and emphasising low frequency interaction, simultaneous optional plotlines and seemingly counter-agency moves. Eight participants took part in a phenomenological study of their experience, from which several directions for further study emerge.

- by Noam Knoller and +1
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- Interactive Narrative, Interactive Digital Storytelling, Expanded Cinema, Interactive movies, future of movie industry
- by Luca Frangella
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- Video Games, Narratology, Interactive Narrative, Videos Games as Expression
- by Raphaël Baroni
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- Narrative, Comics Studies, Narratology, Storytelling
- by Xu Nguyen
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- Information Systems, Game studies, Game Design, Video Games
- by Luca Frangella
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- Video Games, Narratology, Interactive Narrative, Interactive Arts

Les essais réunis dans ce volume interrogent aussi bien le temps des œuvres que le temps à l’œuvre, c’est-à-dire sa formulation narrative mais également son pouvoir d’érosion et de genèse qui affecte les hommes, les livres qu’ils écrivent ou qu’ils lisent et les genres littéraires qu’ils pratiquent. Si l’on veut explorer l’œuvre du temps, on ne peut s’en tenir à l’hypothèse que les intrigues se contentent de mettre en ordre l’histoire et de la doter d’un sens, il nous faut à l’inverse définir les fondements d’une poétique de la discordance narrative qui permette de suivre le glissement du sens dans le temps. Cette réflexion sur le temps soulève une question subsidiaire mais non moins essentielle : « D’où vient le récit et où va-t-il ? » Tenter de répondre à cette question exige de sortir de l’emprisonnement textualiste pour penser la manière dont la narration émerge de la vie et retourne à elle. Il s’agit aussi de marquer la différence qui existe entre les récits qui visent à clarifier le passé, ceux qui veulent en témoigner fidèlement, et ceux enfin qui mettent en scène des histoires inachevées, tournées vers un avenir à vivre ou à lire. Face à la crise que connaissent aujourd’hui les études littéraires et à l’inquiétude que génèrent les usages médiatiques, politiques ou économiques du storytelling, il s’agit de rappeler que la théorie narrative permet de reconnaître dans la littérature le plus fascinant des laboratoires du récit. Si l’homme n’est pas autre chose qu’un faisceau d’histoires, alors l’analyse narratologique des œuvres littéraires demeure la voie royale pour accéder à son humanité.

- by Raphaël Baroni
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- Ethics, Reception Studies, Reception Theory, Narrative

For over 25 years, new and experimental forms of narrative have been evolving from the intersection of digital technologies and literary and artistic vision. From hypertext novels, to massive multi-player online role-playing games to immersive virtual reality installations, each instance involves storytelling machines – human or otherwise – that reveal as much about ourselves as the tales they tell. This collection of essays Interactive Digital Narrative: History, Theory and Practice, edited by Hartmut Koenitz et al., gathers a highly diverse range of activities and experiences in the field of interactive digital narrative (IDN) that describe its different facets and also reveal dramatic tensions within this research area....

- by Marguerite Barry
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- Interactive Narrative

A new narrative structure for the digital age. With the advent of the internet and on-demand video distribution, old narratives are not compelling and entertaining anymore. We need a new narrative structure that revolutionize the Hero's... more

A new narrative structure for the digital age.
With the advent of the internet and on-demand video distribution, old narratives are not compelling and entertaining anymore. We need a new narrative structure that revolutionize the Hero's Journey template, using instead the Hidden Desire's Journey template.

- by Jacopo Mascolini
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- Screenwriting, Media Studies, Narrative, Digital Media

Here we invite you to explore the published papers in the proceedings from the #IFM2021 Virtual Conference. These published proceedings draw from the various and impressive contributions to the III Interactive Film and Media Conference in August 2021. They are organized into five sections according to the themes. In the first two sections, the papers concentrate on social engagement. The first set of papers focuses on confinement and pandemic in the time of COVID-19. The second involves interactive responses to social issues such as migration, indigenous, refugees, and the environment. Sections three and four foreground debates about the levels of interactivity experienced in films and games. In the third set of papers, the authors focus on the medium’s capacities to involve the player or the user in interactivity, while papers comprising the fourth set question the process of immersion and explore levels of interactivity more fully. Finally, in the fifth and final section, the papers focus on the environment of digital art and media, challenging our understanding of what is an “art” and what is “human” in a digital world.

First, the article will discuss the notion of narrative game mechanics, and its theoretical groundings. Second, it will showcase the Narrative Design Canvas as a practical instrument for teaching narrative design. This canvas can be used by students to analyze and design narrative games. It helps them to recognize and establish a connection between a game’s written narrative (expressed for example in dialogues and cutscenes) and a game’s mechanics. The article concludes with a closer look at the game Brothers: A Tale of Two Sons. Using the canvas, the game’s narrative design will be analyzed. This analysis reveals how the
game succeeds in creating an engaging narrative experience by articulating developments in the authored storyline through changes in the game mechanics.

- by Teun Dubbelman
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- Cognitive Narratology, Video Games, Video Game Design, Narratology

Technologically enhanced tabletop games have become an increasingly popular research subject, and at the same time pen and paper role playing games have emerged as a focus for research and development because these games are the only example of truly interactive narratives. Despite these interests, there have been no attempts to develop enhanced pen and paper roleplaying games that could utilize technology to overcome some of the inherent weaknesses of the genre. This study presents an analysis of role playing games in relation to the development of an enhanced pen and paper role playing game. It also gives an overview of the work in enhanced gaming, including a classification of current and future games technologies. The study shows how the addition of technology to games affects their core features, e.g. the immersive qualities and the visibility of the rules. However, it also concludes that despite the obvious challenges in developing e.g. a hybrid pen and paper/computer role pla...

El objetivo de este libro es poner en circulación y mostrar las producciones individuales y colectivas realizadas por los estudiantes de la Maestría en Comunicación Digital Interactiva de la Facultad de Ciencia Política y Relaciones Internacionales de la Universidad de Rosario, Argentina.
Los textos de reflexión teórica y los proyectos digitales seleccionados para integrar este libro fueron realizados como trabajos finales de los módulos de la Maestría durante 2020 y 2021. El libro busca sumar a la reflexión en el campo de los medios digitales con producciones que potencian las posibilidades comunicativas, de narrativas trasnmedia, donde la realización colaborativa es fundante y las mismas explotan las nuevas habilidades, recursos del ecosistema digital.

- by Antranig Sarian
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- Literature, Electronic Literature, Interactive Narrative, Hypertext Fiction

The aim of this chapter is to examine the history of storytelling. This brief history includes the concept of storytelling from myths to the digital era. In the first part of the chapter, the origins of storytelling in primitive communities and its development in later periods are examined. In the second part of the chapter, the development process of digital storytelling is explained. According to this, traditional sto-rytelling has gained a new form called digital storytelling which started with a workshop in 1993 by Dana Atchley. One year later, the Center for Digital Storytelling (CDS) was established in Berkley, CA. The Center for Digital Storytelling has organized workshops and partnered with organizations around the world to hold projects on story facilitation, digital storytelling and other forms of digital media production and since 1993, it has helped more than 20,000 people to share their own stories. Though the digital storytelling movement started in North America, it has also spread in Europe, Australia, Asia, Africa and South America. The movement has found a place in the world of today.

- by Recep Yilmaz and +1
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- Religion, Mythology And Folklore, Sociology of Religion, Artificial Intelligence
- by Stacey Mason
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- Video Games, Electronic Literature, Interactive Narrative, Hypertext Fiction

The practice of designing Interactive Digital Narratives [IDN] is often described as a challenge facing issues such as the " narrative paradox " and avoiding the unintentional creation of " ludonarrative dissonance ". These terms are expressions of a perspective that takes narrative and interactivity as dichotomic ends of a design trajectory, mirroring an enduring discussion in game studies between positions often cast as ludologists and narratologists. The dichotomy of ludo versus narrative is, in itself, problematic and is often the source of the very conflict it describes. In this paper, we investigate this issue through the example of the cooperative game A Way Out, in which two players team up to break out of prison. The game is designed with a narrative twist, involving the escalation and final resolution of the game's competitive motif in the final scene. To understand the user experiences of this reveal, and the concomitant consequences, we engage in a discursive analysis of "Let's Play" videos as a largely untapped resource for research. By analyzing the interactions and performances in these videos , we can more clearly understand player responses to unsatisfying IDN design. As a result we introduce the notion of a 'hermeneutic strip', extending Koenitz' SPP model to locate and describe the involved processes of narrative cognition in IDN work.

- by Christian Roth and +2
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- Game studies, Conversation Analysis, User Experience (UX), Video Games

These lecture notes collect the material used in the advanced course 'Interactive Storytelling' organized biannually at the Department of Future Technologies, University of Turku, Finland. Its aim is to present the key concepts behind interactive digital storytelling (IDS) as well as to review proposed and existing IDS systems. The course focuses on the four partakers of IDS: the platform, the designer, the interactor, and the storyworld. When constructing a platform, the problem is to select an appropriate approach from tightly controlled to emergent storytelling. On this platform, the designer is then responsible for creating the content (e.g., characters, props, scenes and events) for the storyworld, which is then experienced and influenced by the interactor. The structure and relationships between these partakers is explained from a theoretical perspective as well as using existing IDS systems as examples.

- by Jouni Smed and +1
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- Interactive Narrative, Interactive Digital Storytelling, Interactive Media, Digital Storytelling