Predicting User Choices in Interactive Narratives using Indexter\u27s Pairwise Event Salience Hypothesis

Indexter is a plan-based model of narrative that incorporates cognitive scientific theories about the salience—or prominence in memory—of narrative events. A pair of Indexter events can share up to five indices with one another: protagonist, time, space, causality, and intentionality. The pairwise event salience hypothesis states that when a past event shares one or more of these indices with the most recently narrated event, that past event is more salient, or easier to recall, than an event which shares none of them. In this study we demonstrate that we can predict user choices based on the salience of past events. Specifically, we investigate the hypothesis that when users are given a choice between two events in an interactive narrative, they are more likely to choose the one which makes the previous events in the story more salient according to this theory

Video games as a source of extramural English:Finnish university students’ perspective

Abstract. This thesis examines how video games as an entertaining pastime activity may function as a source of extramural English language learning for Finnish players. Previous research about video games and learning has been primarily focused on identifying learning principles deeply rooted in the design of video games. This study examines video games in their immediate sociocultural context, as a form of popular culture comprised of complex communities and activities. The study applied qualitative research methods. The data for this study comes from ten semi-structured interview sessions with Finnish university students of English who were active gamers during their early formal education and listed playing video games as a pastime activity. The interview required informants to give information about their experiences and opinions in relation to video games and English second language learning. The results of the thesis show that the informants consider video games as a significant, effective, and versatile source of additional language learning. Additionally, the results show that the learning experiences described by the informants often realize the characteristics of modern sociocultural learning theories and approaches.Tiivistelmä. Tässä opinnäytetyössä tutkitaan, miten englanninkielisten videopelien pelaaminen voi edistää suomenkielisten pelaajien kouluajan ulkopuolista oppimista. Aikaisempi tutkimus pelien ja oppimisen suhteesta on keskittynyt pitkälti pelien oppimiselle olennaisten toimintaperiaatteiden kartoittamiseen. Tässä tutkimuksessa tarkastellaan pelejä ja oppimista irrottamatta niitä sosiokulttuurisesta viitekehyksestään populaarikulttuurin muotona, joka koostuu monitahoisista yhteisöistä ja aktiviteeteistä. Tutkimusmenetelmä on laadullinen. Tutkimusaineisto koostuu teemahaastatteluista, jonka kymmenen haastateltavaa ovat äidinkielenään suomea puhuvia englannin kielen yliopisto-opiskelijoita. Kaikki haastateltavat harrastivat videopelejä peruskoulun aikana. Haastattelussa osallistujia pyydettiin kertomaan kokemuksistaan ja mielipiteistään englannin kielen oppimisesta videopelien kautta. Tutkimus osoittaa, että haastateltaville videopelit ovat olleet merkittävä, hyvin toimiva ja monipuolinen kanava englannin kielen oppimisessa. Lisäksi tutkimuksessa todetaan, että haastateltavien kuvauksien perusteella pelien kautta tapahtuva oppiminen myötäilee nykyaikaisten sosiokulttuuristen oppimiskäsitysten malleja

Reality guides for life before death

The rise of the digital game industry has brought along a plethora of game design tools and frameworks. They are likely to be named specifically as design frameworks for games because their creators have been positioned themselves on the field of game research due to their personal interest in games or due to the fast rising game business. There appears often not to be a reason why these tools and frameworks could not be used in any other kind of interaction design too. Furthermore, even the definition of a game is elusive. In effort to be able to consider what is a game and what is not, the concept of Reality Guides was developed. A Reality Guide guides the user in their surrounding reality. By its definition it is not necessarily a game, and a game by its definition is not necessarily a Reality Guide, but it is possible for something to be both. Reality Guides can come in the form of paper booklets, human guides, digital applications, or something else. The focus in this thesis is in guides that are mixed reality digital applications. Looking at Reality Guides through several game design frameworks, a new theoretical model was constructed: The GEM Game Experience Model is a result of Grounded Theory based work to find a single underlaying model behind all the existing ones. Two non-game initiatives have been worked on with the guidance of Reality Guide thinking and GEM thinking: Life Before Death aims at producing services that will help people with premature end of life circumstances to make the best possible out of their remaining life. Reality Guides for the end-of-life. Also, in the initiative of creating a community around Digital Theology a project course was organized using gamer community originated Discord as a central Reality Guide for the course participated by students from four continents

Narrative Potential of Menus in Video Games

openNei videogiochi, il menu principale è la casella degli strumenti del giocatore. Lo scopo del menu principale di un videogioco si trova anche nella nostra realtà per cose come una borsa personale o una casa. La struttura e il contenuto di questi oggetti raccontano la vita di una persona. Queste sono cassette degli attrezzi che descrivono gli obiettivi, le azioni e gli elementi importanti di come uno sceglie vivere la sua vita. Comparativamente, il layout e il contenuto del menu principale raccontano la storia del giocatore nel gioco. Il menu principale può anticipare la narrazione e può indicizzare l'interazione con il mondo di gioco. Dimostra i controlli di base del gioco e la logica dell'interfaccia. Per questi motivi, il menu principale può essere considerato l'offerta principale del gioco. Questo estratto è legato a una tesi finale che esaminerà le narrazioni, l'importanza e la presenza di come i menu principali sono organizzati, presentati e utilizzati. Il menu principale è un elemento visivo e narrativo che è all'interno dell'interfaccia non limitato ad essere parte del codice di programmazione di un gioco. Gli obiettivi principali e lo scopo del gioco saranno presenti nel menu principale, indipendentemente se il giocatore sceglie di giocare il gioco come previsto. Quali sono le opzioni identificano gli elementi importanti del gioco. Dove e come gli elementi sono posizionati identificano la loro gerarchia e le relazioni. Come vengono utilizzate le opzioni, facendo riferimento all'input dell'utente, sono collegate all'hardware del gioco e a come il giocatore si muove all'interno del gioco. La forma del funzionamento del menu principale rifletterà e dimostrerà come viene utilizzato l'hardware e la logica dell'interfaccia. Queste considerazioni possono dimostrare come il menu principale funge da guida al gioco come offerta primaria dimostrando come giocare il gioco. Il menu principale come elemento visivo e narrativo si trova in tutti i giochi moderni, con alcune eccezioni, perché è parte integrante dell'interfaccia e della storia del gioco. La mia tesi introdurrà la mia metodologia e lo stato dell'arte sui principali menu nel campo interdisciplinare degli studi di gioco. Gli studi di casi includeranno giochi digitali del franchise Pokémon, la saga di The Legend of Zelda, Animal Crossing e Katamari Damaci. Questo studio spera di portare consapevolezza allo studio del menu principale come più di una semplice interfaccia. Si tratta di un elemento narrativo importante di un gioco che dovrebbe essere un argomento ben studiato all'interno di studi di gioco. I videogiochi possono essere classificati in base al menu principale e l'interfaccia, aggiungendo ai generi tradizionali che vengono utilizzati. Può essere possibile che le recenti tendenze e cambiamenti nei videogiochi che vengono creati dalla tecnologia più recente non sono del tutto nuovi. Questi giochi potrebbero essere realizzando modi che i vecchi giochi erano originariamente destinati ad essere giocato.In videogames, the main menu is the player’s toolbox. The purpose of the main menu to a video game is also found in our reality to things such as a personal bag or a home. The structure and contents of these objects both tell a story of a person’s life. These are toolboxes that outline the goals, actions, and important elements of how one chooses to live his life. Comparatively, the layout and contents of the main menu tell the story of the player in the game. The main menu can anticipate narrative and it can index interaction with the game-world. It demonstrates the basic controls of the game and the interface’s logic. For these reasons, the main menu can be considered the game’s primary affordance. This abstract is related of a final thesis which will look at the narratives, importance, and presence of how main menus are organized, presented, and used. The main menu is a visual and narrative element that is within the interface not limited to being part of a game’s programming code. The main objectives and purpose of play will be present in the main menu regardless if the player chooses to play the game as intended. What the options are identify the important elements of play. Where and how the elements are placed identify their hierarchy and relationships. How the options are used, referring to user input, are linked to the game’s hardware and how the player is moving within the game. The form of the main menu’s operation will reflect and demonstrate how the hardware is used and the interface’s logic. These considerations can prove how the main menu acts as a guide to the game as primary affordance by demonstrating how to play the game. The main menu as a visual and narrative element is found in all modern games, with some exceptions, because it is an integral part of the game's interface and story. My thesis will introduce my methodology and the state of art about main menus in the interdisciplinary field of game studies. Case studies will include digital games from the Pokémon franchise, the saga of The Legend of Zelda, Animal Crossing, and Katamari Damaci. This study hopes to bring awareness to studying the main menu as more than just an interface. It is an important narrative element of a game that should be a well-studied topic within game studies. Videogames can be categorized based on main menu and interface, adding to the traditional genres that are used. It may be possible that recent trends and changes in videogames that are created from newer technology are not entirely new. These games could be realizing ways that older games were originally intended to be played

Storyscape, a new medium of media

A storyscape is the new medium of storytelling. It originates in the model of transmedia storytelling defined by Henry Jenkins (2006a) in Convergence Culture and applied to The Matrix franchise. The storyscape medium is conceptualized from the author/designer perspective as four gestalts that create a whole from stand-alone parts. The four gestalts are mythopoeia, character, canon, and genre. This approach frames the authoring of this story-centric model in opposition to the design approaches of world-building or storyworlds. The four gestalts also provide an academic approach that unites theory and practice with a unified design vocabulary and an orientation toward the creation of a cultural and creative product that is defined as the storyscape medium. Storyscapes, such as The Star Wars franchise or the Marvel Universe, consume the lion’s share of our cultural capital (Johnson 2014). Therefore, the development of a consistent vocabulary, a design approach, and an understanding of how they create meaning and define worldviews is critical to our understanding and practice of a new medium (Dena 2009). Starting with the frame of storytelling as a practice and previous aesthetic models such as The Poetics, this research charts the evolution of the storyscape medium across topics of academic transmedia approaches, principles, affordances, and the connecting or conceptualizing principles that act as gestalts.Ph.D

Expressivity of Creativity and Creative Design Considerations in Digital Games

Currently little is known about how creativity is expressed in digital entertainment games or what specific design elements may foster it. Using a qualitative methodology, this article reports on the findings of 24 semi-structured interviews and 14 narrative surveys with regular players of different types of digital games. Using a hybrid thematic approach to analysis involving both deductive and inductive phases, three main categories relating to the expressivity of creativity were discovered and one category relating to the specific game design considerations which give rise to such creative opportunities. Creativity was found to be expressed in terms of creative problem-solving involving the creation of novel strategies, solutions and approaches to problems; in terms of appropriation involving emergent play practices and how gameplay was adapted for alternative goals; and finally, in terms of affective change involving the personally meaningful insights and changes in attitudes/perceptions which games elicited. Design considerations were also identified relating to: freedom of play, environment, replayability, tools, avatar design and content creation. By shedding light on the grey area of creativity in digital games and illuminating how games may support and promote creativity in players, this article provides a basis for future research and can help inform game design practices in both digital entertainment games and games specifically designed to facilitate creativity

‘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

Playful Materialities

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization

Connecting Narrative Worlds

Report on the 6th International Conference for Interactive Digital Storytelling: “Connecting Narrative Worlds”, Bahçeşehir University Istanbul, November 6-9, 201

Playful Materialities: The Stuff That Games Are Made Of

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization