‘IMPLICIT CREATION’ – NON-PROGRAMMER CONCEPTUAL MODELS FOR AUTHORING IN INTERACTIVE DIGITAL STORYTELLING

Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work

The IRIS Network of Excellence:: Integrating Research in Interactive Storytelling

Abstract. Interactive Storytelling is a major endeavour to develop new media which could offer a radically new user experience, with a potential to revolutionise digital entertainment. European research in Interactive Storytelling has played a leading role in the development of the field, and this creates a unique opportunity to strengthen its position even further by structuring collaboration between some of its main actors. IRIS (Integrating Research in Interactive Storytelling) aims at creating a virtual centre of excellence that will be able to progress the understanding of fundamental aspects of Interactive Storytelling and the development of corresponding technologies

Towards a crowdsourced solution for the authoring bottleneck in interactive narratives

Interactive Storytelling research has produced a wealth of technologies that can be employed to create personalised narrative experiences, in which the audience takes a participating rather than observing role. But so far this technology has not led to the production of large scale playable interactive story experiences that realise the ambitions of the field. One main reason for this state of affairs is the difficulty of authoring interactive stories, a task that requires describing a huge amount of story building blocks in a machine friendly fashion. This is not only technically and conceptually more challenging than traditional narrative authoring but also a scalability problem. This thesis examines the authoring bottleneck through a case study and a literature survey and advocates a solution based on crowdsourcing. Prior work has already shown that combining a large number of example stories collected from crowd workers with a system that merges these contributions into a single interactive story can be an effective way to reduce the authorial burden. As a refinement of such an approach, this thesis introduces the novel concept of Crowd Task Adaptation. It argues that in order to maximise the usefulness of the collected stories, a system should dynamically and intelligently analyse the corpus of collected stories and based on this analysis modify the tasks handed out to crowd workers. Two authoring systems, ENIGMA and CROSCAT, which show two radically different approaches of using the Crowd Task Adaptation paradigm have been implemented and are described in this thesis. While ENIGMA adapts tasks through a realtime dialog between crowd workers and the system that is based on what has been learned from previously collected stories, CROSCAT modifies the backstory given to crowd workers in order to optimise the distribution of branching points in the tree structure that combines all collected stories. Two experimental studies of crowdsourced authoring are also presented. They lead to guidelines on how to employ crowdsourced authoring effectively, but more importantly the results of one of the studies demonstrate the effectiveness of the Crowd Task Adaptation approach

Simplifying Authoring of Adaptive Hypermedia Structures in an eLearning Context

Full version unavailable due to 3rd party copyright restrictions.In an eLearning context, Adaptive Hypermedia Systems have been developed to improve learning success by increasing learner satisfaction, learning speed, and educational effectiveness. However, creating adaptive eLearning content and structures is still a time consuming and complicated task, in particular if individual lecturers are the intended authors. The way of thinking that is needed to create adaptive structures as well as the workflows is one that lecturers are unaccustomed to. The aim of this research project is to develop a concept that helps authors create adaptive eLearning content and structures, which focuses on its applicability for lecturers as intended authors. The research is targeted at the sequencing of content, which is one of the main aspects of adaptive eLearning. To achieve this aim the problem has been viewed from the author’s side. First, in terms of complexity of thoughts and threads, explanations about content structures have been found in storytelling theory. It also provides insights into how authors work, how story worlds are created, story lines intertwined, and how they are all merged together into one content. This helps us understand how non technical authors create content that is understandable and interesting for recipients. Second, the linear structure of learning content has been investigated to extract all the information that can be used for sequencing purposes. This investigation led to an approach that combines existing models to ease the authoring process for adaptive learning content by relating linear content from different authors and therefore defining interdependencies that delinearise the content structure. The technical feasibility of the authoring methods for adaptive learning content has been proven by the implementation of the essential parts in a research prototype and by authoring content from real life lectures with the prototype’s editor. The content and its adaptive structure obtained by using the concept of this research have been tested with the prototype’s player and monitor. Additionally, authoring aspects of the concept have been shown along with practical examples and workflows. Lastly, the interviewees who took part in expert interviews have agreed that the concept significantly reduces authoring complexity and potentially increases the amount of lecturers that are able to create adaptive content. The concept represents the common and traditional authoring process for linear content to a large extent. Compared to existing approaches the additional work needed is limited, and authors do not need to delve into adaptive structures or other authors’ content structures and didactic approaches

Lecture Notes on Interactive Storytelling

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.</p

Modèles narratifs, modèles numériques : vers un rapprochement

Malgré la présence du numérique à la fois comme nouveau terrain d’étude et comme nouvel outillage d’analyse, la possibilité d’adopter une approche fondamentalement computationnelle de l’étude des récits semble très peu explorée, alors même que les modèles computationnels de récit existent, notamment en informatique. Après un survol de ces modèles, nous esquissons la perspective d’adopter une démarche scientifique de modélisation/simulation des récits dans l’optique d’une consolidation des modèles narratologiques existants, tout en mentionnant quelques difficultés inhérentes à une telle approche.Despite the presence of digital technology both as a new field of study and as a new tool for analysis, the possibility of adopting a fundamentally computational approach to the study of narratives seems to be very little explored, even though computational models of narratives exist, particularly in computer science. After an overview of these models, we outline the prospect of adopting a scientific approach to modeling/simulating narratives with a view to consolidating existing narratological models, while mentioning some of the difficulties inherent in such an approach

Don’t forget to save! User experience principles for video game narrative authoring tools.

Interactive Digital Narratives (IDNs) are a natural evolution of traditional storytelling melded with technological improvements brought about by the rapidly increasing digital revolution. This has and continues to enhance the complexities and functionality of the stories that we can tell. Video game narratives, both old and new, are considered close relatives of IDN, and due to their enhanced interactivity and presentational methods, further complicate the creation process. Authoring tool software aims to alleviate the complexities of this by abstracting underlying data models into accessible user interfaces that creatives, even those with limited technical experience, can use to author their stories. Unfortunately, despite the vast array of authoring tools in this space, user experience is often overlooked even though it is arguably one of the most vital components. This has resulted in a focus on the audience within IDN research rather than the authors, and consequently our knowledge and understanding of the impacts of user experience design decisions in authoring tools are limited. This thesis tackles the modeling of complex video game narrative structures and investigates how user experience design decisions within IDN authoring tools may impact the authoring process. I first introduce my concept of Discoverable Narrative which establishes a vocabulary for the analysis, categorization, and comparison of aspects of video game narrative that are discovered, observed, or experienced by players — something that existing models struggle to detail. I also develop and present my Novella Narrative Model which provides support for video game narrative elements and makes several novel innovations that set it apart from existing narrative models. This thesis then builds upon these models by presenting two bespoke user studies that examine the user experience of the state-of-the-art in IDN authoring tool design, together building a listing of seven general Themes and five principles (Metaphor Testing, Fast Track Testing, Structure, Experimentation, Branching) that highlight evidenced behavioral trends of authors based on different user experience design factors within IDN authoring tools. This represents some of the first work in this space that investigates the relationships between the user experience design of IDN authoring tools and the impacts that they can have on authors. Additionally, a generalized multi-stage pipeline for the design and development of IDN authoring tools is introduced, informed by professional industry- standard design techniques, in an effort to both ensure quality user experience within my own work and to raise awareness of the importance of following proper design processes when creating authoring tools, also serving as a template for doing so

Directed Emergent Drama

A fully interactive drama, where the player interacts with intelligent Non- Player Characters (NPCs), can revolutionise entertainment, gaming, education, and therapy. Creating such a genuinely interactive drama that is entertaining and gives players a sense of coherency as active participants in the unfolding drama has seen a substantial research effort. Authors have the power to shape dramatised stories for theatre or television at will. Conversely, the authors' ability to shape interactive drama is limited because the drama emerges from players' and NPCs actions during game-play, which significantly limits authoring control. A coherent drama has a recognisable dramatic structure. One philosophy is to use planning algorithms and narrative structures to reduce required authoring. However, planning algorithms are intractable for the large state-spaces intrinsic to interactive dramas, and they have not reduced the authoring problem sufficiently. A more straightforward and computationally feasible method is emergent interactive drama from players' and NPCs' actions. The main difficulty with this approach is maintaining a drama structure and theme, such as a mystery theme or a training scenario, that the player experiences while interacting with the game world. Therefore, it is necessary to impose some form of structure to guide or direct the unfolding drama. The solution introduced in this thesis is to distribute the computation among autonomous actors that are guided by goals and drama structures which a centralised autonomous director agent distributes among the actors, which comprises the following four main elements: a) autonomous rational actor agents that know they are acting and can negotiate dialogues between them to remain realistic while simultaneously progressing the drama, without the player knowing, b) Bayesian network to model the actors reasoning, including beliefs about other actors' mental states c) an autonomous director agent uses "schemas", conceptual structures based on motifs, to guide the actors