Interactive Narrative

Campion, B. (2010). Etudier la compréhension narrative. Difficultés d’opérationnalisation et usage de l’expérimentation en narratologie cognitive. Présenté à Colloque La narratologie face à la nouvelle dimension sociale des récits, Paris, Ecole des Hautes Etudes en Sciences Sociales (EHESS).

by Baptiste Campion

Cet article se veut un essai réflexif sur les méthodologies de recherche en narratologie, et notamment sur leur... more Cet article se veut un essai réflexif sur les méthodologies de recherche en narratologie, et notamment sur leur difficulté à rendre compte, au-delà de modèles spéculatifs, de l'activité du lecteur empirique et de la manière dont le récit provoque effectivement un effet cognitif. Après avoir envisagé les différentes manières de considérer le lecteur dans la littérature, ainsi que les obstacles les plus courants à l'approche empirique, le texte argumente en faveur du développement d'une narratologie empirique d'inspiration expérimentale destinée à investiguer la question de la compréhension et des opérations suscitées par le récit chez le lecteur empirique. Cette démarche est illustrée par une recherche qui a utilisé la quasi-expérimentation pour mettre en lumière certains effets cognitifs de la structure narrative.

Interview with Leila Nadir and Cary Peppermint of Ecoarttech

by Leila C. Nadir

Furtherfield.org Interview with Sophia Kosmaoglou - 20/04/2012

Refusing to regard technology merely as a tool, Ecoarttech expand the uses of mobile technology and digital networks... more Refusing to regard technology merely as a tool, Ecoarttech expand the uses of mobile technology and digital networks revealing them to be fundamental components of the way we experience our environment. Their most recent work Indeterminate Hikes + (IH +) is a phone app that maps a series of trails through the city. IH + can be accessed globally, or wherever users have access to Google Maps on their mobile phones. After identifying the users’ location, IH + generates a route along random “Scenic Vistas" within urban spaces. Users are directed to perform a series of tasks along the trail and provide feedback in the form of snapshots generating an ongoing, open-ended dialogue. But the experience of their work is primarily an encounter with technology. Since 2005, Leila Nadir and Cary Peppermint of Ecoarttech have been engaged in an artistic exploration of environmental sustainability and convergent media. By drawing our attention to the increasing replacement or mediation of physical experiences by technology, Ecoarttech challenge the widely reproduced distinction between nature and culture. They present their work in the form of videos, digital networks, blogs, performance and installations. Their early video-based work (Wilderness Trouble and Frontier Mythology) plays out a performative and ironic encounter with the natural environment as a historically constructed concept. In the summer of 2005 Ecoarttech made A Series of Practical Performances in the Wilderness (2005) a database networked performance in QuickTime (DVD and Podcast).

Forbidden Story: Narratological Analysis of Forbidden Siren for the PlayStation 2 Console.

by Jameson Hogan

For Dr. David Gorman’s “Narrative” course.
Presented at the Midwest Popular Culture Association’s 2010 Conference.

Six generations of game systems have come and gone since the first home consoles appeared in the 1970s, and the games... more Six generations of game systems have come and gone since the first home consoles appeared in the 1970s, and the games themselves have advanced in tandem. As this media has evolved into a worldwide industry, the need to study it academically has arisen; but a conflict has emerged between those who try to apply classical narrative theory, and those who believe that narrative is fundamentally unimportant to such study. It is my intention to argue in favor of a narratological approach by way of NJ Lowe’s model of plot as a game. Lowe uses the analogy of a board game to present a vocabulary of concepts for use in discussing the narrative worlds of Classical texts; I apply this theory to the PlayStation 2 game Forbidden Siren, a survival-horror game which has some intriguing traits that set it apart from many simpler games, such as multiple endings, multiple characters, and the ability to see through the eyes of enemies and allies at will. Episodes of the game are played out in a non-linear fashion, such that episodes played sequentially may occur simultaneously or in reverse order within the game world, and actions undertaken by the player in one episode can have consequences (both positive and negative) in
subsequent episodes. The intent of my paper is not to demonstrate the superiority of narratology to ludology, but to demonstrate that a theory of narrative designed for literature can be successfully applied to a video game text.

Story, Play, and Steam: Thermoludic Narratology in Video Game Studies

by Jameson Hogan

For completion of the MA in Literature and Rhetoric/Composition.

This project examined the often competing perspectives of ludology and narratology in the field of video game studies,... more This project examined the often competing perspectives of ludology and narratology in the field of video game studies, and attempts to incorporate both into a model of game narrative engagement based on the laws of thermodynamics. Further, this project sought to demonstrate that the same model can be used to examine the study of traditional literary texts.

The Assassin's Creed video game series served as the video game text under examination, and the novel House of Leaves as the literary.

Drama and Context in Real-Time Virtual Environments: Use of Pre-Scripted Events as a Part of an Interactive Spatial Mediation Framework

by Stanislav Roudavski

Cite as: Nitsche, Michael, Stanislav Roudavski, Maureen Thomas and François Penz (2003). 'Drama and Context in Real-Time Virtual Environments: Use of Pre-Scripted Events as a Part of an Interactive Spatial Mediation Framework', in Proceedings of 1st International Conference on Technologies for Interactive Digital Storytelling and Entertainment, ed. by Stefan Göbel et al. (Darmstadt: Fraunhofer IRB Verlag), pp. 296-310

We suggest that the dramatically engaging mediation of an experience of place should be built in as a fundamental... more We suggest that the dramatically engaging mediation of an experience of place should be built in as a fundamental capability of a compelling and meaningful virtual environment (VE). Our main objective is to develop flexible interactive techniques that supply VE’s with a coherent context and make the resulting ‘virtual place’ available to the user in a dramatically engaging way. To support the concept of narrative expressive space, we propose a three-layer multi-purpose spatial mediation framework that utilizes an interactive narrative structure to coordinate stylized dramatic camera work, lighting, effects and sound. We then describe the use of pre-scripted events as a layer in this framework and explain the inherent benefits and problems, using a single-user prototype environment as illustration. The work offers guidelines for the design of VE’s to all fields that combine narrativity and spatiality, such as interactive entertainment, education and architecture.

Building Cuthbert Hall Virtual College As a Dramatically Engaging Environment

by Stanislav Roudavski

Cite as: Nitsche, Michael, Stanislav Roudavski, Maureen Thomas and François Penz (2002). 'Building Cuthbert Hall Virtual College As a Dramatically Engaging Environment', in Proceedings of the Participatory Design Conference 2002, ed. by Thomas Binder, Judith Gregory and Ina Wagner (Palo Alto: CPSR), pp. 386-390

This paper outlines the interdisciplinary nature, collaborative work patterns and role of aesthetics in the Cuthbert... more This paper outlines the interdisciplinary nature, collaborative work patterns and role of aesthetics in the Cuthbert Hall Virtual College research project at the Cambridge University Moving Image Studio (CUMIS) and the Centre for Applied Research in Education Technology (CARET). The project identifies key properties of dramatically engaging real-time three-dimensional virtual environments (RT 3D VE) and how the holistic experiential phenomenon of place is organised and mediated through spatial narrative patterns. Interdisciplinary by nature, the project requires a collaborative approach between science, engineering, media and architecture, and the results are revealing for all these areas. The Cuthbert Hall project invites discussion of the importance in the creation and use of RT 3D VE’s - under single and multi-user conditions - of articulate aesthetics (the quality of architectural, visual and audio design; the production and incorporation of dramatic properties) and of the conditions required for collaborative, communicative use of the environment.

The full theoretical and technical discussions as well as the evaluation results are outside the scope of this submission.

The Reading Glove: A Non-linear Adaptive Tangible Narrative

by Joshua Tanenbaum

Tanenbaum, J., & Tanenbaum, K. (2011). The Reading Glove: A Non-linear Adaptive Tangible Narrative. In M. Si, D. Thue, E. André, J. Lester, J. Tanenbaum & V. Zammitto (Eds.), Interactive Storytelling (Vol. 7069, pp. 346-349): Springer Berlin / Heidelberg.

In this paper we describe The Reading Glove: a non-linear adaptive tangible narrative system in which interactors... more In this paper we describe The Reading Glove: a non-linear adaptive tangible narrative system in which interactors piece together a narrative puzzle by interacting with a collection of physical artifacts. The Reading Glove uses an adaptive system to assist the reader in making sense of the complicated web of narrative information.

Imagining New Design Spaces for Interactive Digital Storytelling

by Joshua Tanenbaum

Tanenbaum, J. (2011). Imagining New Design Spaces for Interactive Digital Storytelling. In M. Si, D. Thue, E. André, J. Lester, J. Tanenbaum & V. Zammitto (Eds.), Interactive Storytelling (Vol. 7069, pp. 261-271): Springer Berlin / Heidelberg.

Research into Interactive Digital Storytelling (IDS) is often undertaken through a process of conceptualization,... more Research into Interactive Digital Storytelling (IDS) is often undertaken through a process of conceptualization, design, prototyping, and evaluation. In this paper we describe a framework of questions intended to interrogate the fundamental intellectual commitments that underlie the design of interactive narratives. We close with a brief description of two interactive narrative systems that were developed to demonstrate how different design commitments can result in new and interesting IDS experiences. We contend that examining the underlying intellectual commitments of our designs reveals new avenues for research and design in IDS that are as yet unexplored.

Being in the Story: Readerly Pleasure, Acting Theory, and Performing a Role

by Joshua Tanenbaum

Tanenbaum, J. (2011). Being in the Story: Readerly Pleasure, Acting Theory, and Performing a Role
Interactive Storytelling. In M. Si, D. Thue, E. André, J. Lester, J. Tanenbaum & V. Zammitto (Eds.), (Vol. 7069, pp. 55-66): Springer Berlin / Heidelberg.

It is common within the interactive narrative research community to conflate interaction with changing the outcome of... more It is common within the interactive narrative research community to conflate interaction with changing the outcome of a story. In this paper we argue that reimagining interaction as participation in a story opens up an important new design space for digital narratives: one which emphasizes the readerly pleasure of transforming into a character rather than the authorial pleasure of rewriting the events of the story. We draw on theories of method acting and performance as a model for participating within a story and provide examples from several recent games that support this type of narrative.

Designing multimedia for learning: narrative guidance and narrative construction.

by Lydia Plowman

Plowman L., Luckin R., Laurillard D., Stratfold M., Taylor, J. (1999) Designing multimedia for learning: narrative guidance and narrative construction. Proceedings of CHI’99, pp. 310-317. (ACM conference on Human Factors in Computing Systems), Pittsburgh, PA, USA, 15-20 May 1999.

Narrative is fundamental to the ways we make sense of texts of all kinds because it provides structure and coherence,... more Narrative is fundamental to the ways we make sense of texts of all kinds because it provides structure and coherence, but it is difficult to see how this works in the context of multimedia interactive learning environments (MILES). We tested our hypotheses about the form and function of narrative in MILES by developing three versions of material on CD-ROM which had different narrative structures and analysed the impact of the different versions on learner behaviour. We present a theoretical framework in which we explain the concepts of narrative guidance and narrative construction and their application to the design of MILES.

Getting the Story Straight: the role of narrative in teaching and learning with interactive media

by Lydia Plowman

Plowman L. (2005) Getting the Story Straight: the role of narrative in teaching and learning with interactive media. In Cognition, Education and Communication Technology, eds. P. Gardenfors & P. Johansson, pp. 55-76. Lawrence Erlbaum, Mahwah, NJ.

An exploration of the role of narrative in teaching and learning with interactive media is central if we take as our... more An exploration of the role of narrative in teaching and learning with interactive media is central if we take as our starting point ‘how can the design of interactive learning environments be best tailored to human cognition?’ Narrative is not simply an aesthetic consideration when designing interactive media; it is also fundamental to the ways in which we make sense of texts of all kinds because it provides structure and coherence and is fundamentally linked to cognition and understanding. The focus of this chapter is on how the presence or absence of narrative and its different forms and functions facilitates or impedes learning, heeding the ways in which prior exposure to other narrative forms shapes our understanding but also examining how it works in a specifically interactive medium.

Narrative, linearity and interactivity: making sense of interactive multimedia

by Lydia Plowman

Plowman L. (1996) Narrative, linearity and interactivity: making sense of interactive multimedia. British Journal of Educational Technology 27 (2) 92-105.

A novice to interactive multimedia is confronted by a new medium which transforms narrative structures which have... more A novice to interactive multimedia is confronted by a new medium which transforms narrative structures which have evolved over thousands of years. This article focuses on educational interactive media for which the notion of multiple interpretations has different implications, particularly for comprehension and cognition. It reports on experiments with a number of multimedia packages to see how children make sense of interactive media.

Towards an Open and Sustainable Model for IDN Software

by Hartmut Koenitz

Position paper for ICIDS Workshop on technology exchange for Interactive Digital Narrative

Towards a Unified Theory for Interactive Digital Storytelling – classifying artifacts

by Hartmut Koenitz

Co-authored with Mads Haahr, Gabriele Ferri, Tonguc Sezem

An important step towards a theoretical understanding of interactive digital narrative is a classification system for... more An important step towards a theoretical understanding of interactive digital narrative is a classification system for existing artifacts. Many artifacts in Interactive Digital Storytelling provide a challenge to taxonomies derived from literature or film. The lack of a thorough classification system is also a serious hindrance to theoretical work, as it precludes a mapping of the overall field and a comparison of artifacts along categories shared by many researchers. In order to minimize confusion and misunderstandings in the academic discussion within the field and with outside disciplines, the workshop explores ways towards a shared taxonomy for Interactive Digital Storytelling.

An Iterative Approach Towards Interactive Digital Narrative – Early Results With the Advanced Stories Authoring and Presentation System

by Hartmut Koenitz

Narrative has always played an important role in knowledge transfer between human beings. The Advanced Stories... more Narrative has always played an important role in knowledge transfer between human beings. The Advanced Stories Authoring and Presentation System (ASAPS) was developed as the practical side to a research effort Interactive Digital Narrative (IDN) that combines theory and practice in a tightly coupled relationship. The first implementation of ASAPS foregrounds a robust and flexible architecture based on an extensible markup language. The early ASAPS narratives described here are an indication for the potential of this approach, which will incorporate additional technologies in the future.

Extensible Tools for Practical Experiments in IDN – The Advanced Stories Authoring and Presentation System

by Hartmut Koenitz

Research on the emerging form of interactive digital narrative (IDN) concerns both theory and practice. The approach... more Research on the emerging form of interactive digital narrative (IDN) concerns both theory and practice. The approach discussed here combines a theoretical framework introduced previously with a concrete implementation in the form of the Advanced Stories Authoring and Presentation System (ASAPS), a software package that aims to foster experimentation by providing tools which are easy to use. Furthermore ASAPS differentiates itself from other authoring tools by emphasizing extensibility and collaboration with other software. Therefore, the first implementation of this tool set foregrounds a flexible, modular architecture over computational sophistication.

Towards a Shared Vocabulary for Interactive Digital Storytelling

by Hartmut Koenitz

Co-authored with Mads Haahr, Gabriele Ferri and Tonguc Ibrahim Sezen

As a new research domain matures, it becomes increasingly important for researchers to agree on a shared vocabulary.... more As a new research domain matures, it becomes increasingly important for researchers to agree on a shared vocabulary. For researchers in Interactive Digital Storytelling, this is a particular challenge, because researchers come from many different domains and bring their own terminology with them. This workshop exposes and explores the differences in meaning and terminology of key terms such as “story” in different academic disciplines related to Interactive Digital Storytelling. In order to minimize confusion and misunderstandings in the academic discussion within the field and with outside disciplines, the workshop explores ways towards a shared vocabulary for Interactive Digital Storytelling.

Do We Need a New Narratology for Interactive Digital Storytelling?

by Hartmut Koenitz

Co-authored with Mads Haahr, Gabriele Ferri and Tonguc Ibrahim Sezen

The workshop explores Narratology as applied to Interactive Digital Storytelling. It presents different strands in... more The workshop explores Narratology as applied to Interactive Digital Storytelling. It presents different strands in established Narratology and the foundations they are built on. Then it discusses different attempts to apply and reconcile Narratology with Interactive Digital Storytelling. The workshop is designed to expose these differences by applying different concepts to the analysis of different digital artifacts and open up a discussion of theory that is mindful of diverse approaches and integrates practical considerations.

Towards a theoretical framework for interactive digital narrative

by Hartmut Koenitz

The emerging artistic practice of interactive narrative in digital media marks a profound departure from traditional... more The emerging artistic practice of interactive narrative in digital media marks a profound departure from traditional narrative. The application of traditional narrative theory for interactive narrative is problematic, since the affordances of digital media challenge many underlying assumptions of theories related to non-digital media. This paper proposes a theoretical framework for interactive storytelling, which addresses these concerns by foregrounding system (the digital artifact) and process (the user interacting with the system) over the product-centered view of legacy media. On this basis, protostory, narrative design, and narrative vectors are proposed as new terms to more adequately describe the structure of narrative in interactive digital storytelling. This move is also relevant for practical design given the influence theoretical concepts have on concrete implementations.

Reframing interactive digital narrative: Toward an inclusive open-ended iterative process for research and practice

by Hartmut Koenitz

In more than two decades of research and practical experiments in interactive digital narrative (IDN), much insight... more In more than two decades of research and practical experiments in interactive digital narrative (IDN), much insight about the relationship of narrative and digital media has been gained and many successful experiments have been undertaken, as a survey of the field illustrates. However, current approaches also limit the scope of experimentation and constrain theory in interactive narrative forms original to digital media.

After reviewing the "interactivisation" of legacy theory (neo-Aristotelian poetics for interactive drama, poststructuralism for hyperfiction, 20th century narratology for interactive fiction and as a general theory for IDN), the thesis introduces a theoretical framework that changes the focus from the product-centered view of legacy media towards system and the process of instantiation. The terms protostory describing the overall space of potential narratives in an IDN system, narrative design for the concrete assemblage of elements and narrative vectors as substructures that enable authorial control are introduced to supersede legacy terms like story and plot.

On the practical side, the thesis identifies limitations of existing approaches (e.g. legacy metaphors like the timeline, and authoring tools that support only particular traditions) To overcome these limitations a software toolset built on the principles of robustness, modularity, and extensibility is introduced and some early results are evaluated. Finally, the thesis proposes an inclusive, open-ended iterative process as a structure for future IDN research in which practical implementations and research coexist in a tightly coupled mutual relationship that allows changes on one side to be integrated on the other.