Employing branching comics to design, visualise and evaluate interactive stories

This thesis presents the case for adopting comics in the design, visualisation and evaluation of interactive stories. The potential for comics to be employed in the representation of interactive story-driven material has been identified in previous work. However, there is a lack of theory or evidence upon which an informed approach can be based. Consequently, this thesis contributes a process for employing branching comics to design and visualise interactive stories informed by previous approaches to stories, interactive stories and visualisations. It is argued that comics have several advantages over previous methods of designing interactive stories due to their inherent structural compatibility with visualising hierarchies of abstraction of story content. A series of studies are conducted to demonstrate how comics can be employed to visualise abstraction levels, and how branching comics can be employed to evaluate interactive stories. Qualitative and quantitative methods related to both user experience and comprehension are employed, which demonstrate the advantages in the use of comics to explore a range of different phenomena related to creating, interpreting and using interactive stories

Encouraging the Acquistion of Drawing Skills in Game Design: a Case Study

Undergraduate, Interactive Games Design (IGD) courses offered by technical universities in the UK recruit students who are not required to have art or design backgrounds. However, they need to be able to represent their creative ideas. Observations at the University of Gloucestershire have shown that many students find difficulties in expressing their ideas in a visual manner as they do not have adequate drawing skills and eventually some focus on coding and some withdraw. This thesis investigates the links between game design and drawing skills, examining concepts of creativity, learning, design communication and education. To establish the basis of this problem, it was necessary to gain an insight into students‘ and tutors‘ viewpoints and interpretation of this course. Using an interpretive philosophical framework, a mixed method approach was chosen to allow for greater opportunity to understand the phenomenon. Within an action research paradigm, the research was carried out in an evolutionary manner. The extent of the problem was established by eliciting tutors‘ insight from other institutions both arts and technical based. A case study was set out to study two cohorts of students. This identified the problems reported by students and the impact of these on students‘ attitude and motivation. The nature and necessity of drawing skills for sketching storyboards were explored by gaining views of students, tutors and industry professionals. The effect of the tutor-led Art interventions at UoG was investigated. The research identified criteria to assess the quality of storyboard communications and finally a framework for an e-learning object to develop storyboard communication skills was specified. This study revealed that obtaining visual skills is fundamental in order to be able to draw or use rapid prototyping techniques for storyboarding. This needs to be addressed in a specified module or several sessions. It appeared that the design of an art intervention (tutor-based or e-learning object) for IGD students, needs to address the issues of confidence and teamwork alongside with the learning materials in a constructive and gamified style and as interactive as possible in a structured goal-based manner. It would also benefit from Active learning teaching style

‘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 Moving Page

This paper investigates transitional states of spaces between images, moving images, and the use of sketchbook/page works through a questioning and auto-ethnographic approach to research and practice. Viewing illustration as a refexive space, the investigations demonstrate exchangesbetween authorship, interaction, narrative, time, and space. Valuing the ‘in-between’ states that exist between the unfnished and fnished, the research questions notions of in-fux, moving, nebulous states. Through alternative publishing forms, the research concerns dissemination through emerging digital platforms

The Moving Page

This paper investigates transitional states of spaces between images, moving images, and the use of sketchbook/page works through a questioning and auto-ethnographic approach to research and practice. Viewing illustration as a refexive space, the investigations demonstrate exchangesbetween authorship, interaction, narrative, time, and space. Valuing the ‘in-between’ states that exist between the unfnished and fnished, the research questions notions of in-fux, moving, nebulous states. Through alternative publishing forms, the research concerns dissemination through emerging digital platforms

The challenge of visuality for electronic literature: Conference panel: The medium

Whilst there may be aesthetic tropes within digital media, there is no universally accepted authority within contemporary culture nor is there an easy mutual acceptance of what is “right and proper” or indeed legitimate outside the now virtue of being popular and well followed. Indeed the now bodily distanced and disinhibited digital citizen frequently demonstrates a palpable distain for the elite and pretentious. Considering this, any community with Literature in its name may have an identity problem; literariness still pertains to an elevated quality of artistic or intellectual merit and is thus counter to popular cultural production. In addition, mainstream culture has successfully commoditized many counter-cultural communities. Electronic Literature has arguably not been through such commodification processes, and the question of interest is why not? To that extent this paper seeks to explore possible answers. Investigating the broader shifts towards increased visuality within modern culture the paper will discuss and revisit the discourses on the power structures of the gaze, consider spectatorship’s dominance over readership and interaction and co-creation and the function of the image within contemporary narrative forms inside and outwith Electronic Literature. The paper will also consider the politics implied in the move to open access, the fluid distribution of often context-less “images”, how this relates to prior notions of literary publishing, and whether this manifests as an opportunity or a challenge to Electronic Literature’s dissemination. Lastly and toward a conclusion, the paper will propose that if we consider the tradition of literature as one that is driven by the expression of human experience, where in today’s context literary “traditions” are not longer built around specific commonalities of form (i.e. predominately verbal language) but rather subject matter, themes and worldviews then the questions of identity and of “literariness” can evaporate to make space for fuller participation in the ocular freedoms in contemporary culture

A concept for international societally relevant microbiology education and microbiology knowledge promulgation in society

Microbes are all pervasive in their distribution and influence on the functioning and well-being of humans, life in general and the planet. Microbially-based technologies contribute hugely to the supply of important goods and services we depend upon, such as the provision of food, medicines and clean water. They also offer mechanisms and strategies to mitigate and solve a wide range of problems and crises facing humanity at all levels, including those encapsulated in the sustainable development goals (SDGs) formulated by the United Nations. For example, microbial technologies can contribute in multiple ways to decarbonisation and hence confronting global warming, provide sanitation and clean water to the billions of people lacking them, improve soil fertility and hence food production and develop vaccines and other medicines to reduce and in some cases eliminate deadly infections. They are the foundation of biotechnology, an increasingly important and growing business sector and source of employment, and the centre of the bioeconomy, Green Deal, etc. But, because microbes are largely invisible, they are not familiar to most people, so opportunities they offer to effectively prevent and solve problems are often missed by decision-makers, with the negative consequences this entrains. To correct this lack of vital knowledge, the International Microbiology Literacy Initiative–the IMiLI–is recruiting from the global microbiology community and making freely available, teaching resources for a curriculum in societally relevant microbiology that can be used at all levels of learning. Its goal is the development of a society that is literate in relevant microbiology and, as a consequence, able to take full advantage of the potential of microbes and minimise the consequences of their negative activities. In addition to teaching about microbes, almost every lesson discusses the influence they have on sustainability and the SDGs and their ability to solve pressing problems of societal inequalities. The curriculum thus teaches about sustainability, societal needs and global citizenship. The lessons also reveal the impacts microbes and their activities have on our daily lives at the personal, family, community, national and global levels and their relevance for decisions at all levels. And, because effective, evidence-based decisions require not only relevant information but also critical and systems thinking, the resources also teach about these key generic aspects of deliberation. The IMiLI teaching resources are learner-centric, not academic microbiology-centric and deal with the microbiology of everyday issues. These span topics as diverse as owning and caring for a companion animal, the vast range of everyday foods that are produced via microbial processes, impressive geological formations created by microbes, childhood illnesses and how they are managed and how to reduce waste and pollution. They also leverage the exceptional excitement of exploration and discovery that typifies much progress in microbiology to capture the interest, inspire and motivate educators and learners alike. The IMiLI is establishing Regional Centres to translate the teaching resources into regional languages and adapt them to regional cultures, and to promote their use and assist educators employing them. Two of these are now operational. The Regional Centres constitute the interface between resource creators and educators–learners. As such, they will collect and analyse feedback from the end-users and transmit this to the resource creators so that teaching materials can be improved and refined, and new resources added in response to demand: educators and learners will thereby be directly involved in evolution of the teaching resources. The interactions between educators–learners and resource creators mediated by the Regional Centres will establish dynamic and synergistic relationships–a global societally relevant microbiology education ecosystem–in which creators also become learners, teaching resources are optimised and all players/stakeholders are empowered and their motivation increased. The IMiLI concept thus embraces the principle of teaching societally relevant microbiology embedded in the wider context of societal, biosphere and planetary needs, inequalities, the range of crises that confront us and the need for improved decisioning, which should ultimately lead to better citizenship and a humanity that is more sustainable and resilient. The biosphere of planet Earth is a microbial world: a vast reactor of countless microbially driven chemical transformations and energy transfers that push and pull many planetary geochemical processes, including the cycling of the elements of life, mitigate or amplify climate change (e.g., Nature Reviews Microbiology, 2019, 17, 569) and impact the well-being and activities of all organisms, including humans. Microbes are both our ancestors and creators of the planetary chemistry that allowed us to evolve (e.g., Life's engines: How microbes made earth habitable, 2023). To understand how the biosphere functions, how humans can influence its development and live more sustainably with the other organisms sharing it, we need to understand the microbes. In a recent editorial (Environmental Microbiology, 2019, 21, 1513), we advocated for improved microbiology literacy in society. Our concept of microbiology literacy is not based on knowledge of the academic subject of microbiology, with its multitude of component topics, plus the growing number of additional topics from other disciplines that become vitally important elements of current microbiology. Rather it is focused on microbial activities that impact us–individuals/communities/nations/the human world–and the biosphere and that are key to reaching informed decisions on a multitude of issues that regularly confront us, ranging from personal issues to crises of global importance. In other words, it is knowledge and understanding essential for adulthood and the transition to it, knowledge and understanding that must be acquired early in life in school. The 2019 Editorial marked the launch of the International Microbiology Literacy Initiative, the IMiLI. HERE, WE PRESENT our concept of how microbiology literacy may be achieved and the rationale underpinning it; the type of teaching resources being created to realise the concept and the framing of microbial activities treated in these resources in the context of sustainability, societal needs and responsibilities and decision-making; and the key role of Regional Centres that will translate the teaching resources into local languages, adapt them according to local cultural needs, interface with regional educators and develop and serve as hubs of microbiology literacy education networks. The topics featuring in teaching resources are learner-centric and have been selected for their inherent relevance, interest and ability to excite and engage. Importantly, the resources coherently integrate and emphasise the overarching issues of sustainability, stewardship and critical thinking and the pervasive interdependencies of processes. More broadly, the concept emphasises how the multifarious applications of microbial activities can be leveraged to promote human/animal, plant, environmental and planetary health, improve social equity, alleviate humanitarian deficits and causes of conflicts among peoples and increase understanding between peoples (Microbial Biotechnology, 2023, 16(6), 1091–1111). Importantly, although the primary target of the freely available (CC BY-NC 4.0) IMiLI teaching resources is schoolchildren and their educators, they and the teaching philosophy are intended for all ages, abilities and cultural spectra of learners worldwide: in university education, lifelong learning, curiosity-driven, web-based knowledge acquisition and public outreach. The IMiLI teaching resources aim to promote development of a global microbiology education ecosystem that democratises microbiology knowledge.http://www.wileyonlinelibrary.com/journal/mbt2hj2024BiochemistryGeneticsMicrobiology and Plant PathologySDG-01:No povertySDG-02:Zero HungerSDG-03:Good heatlh and well-beingSDG-04:Quality EducationSDG-06:Clean water and sanitationSDG-07:Affordable and clean energySDG-08:Decent work and economic growthSDG-12:Responsible consumption and productionSDG-13:Climate actionSDG-14:Life below wate

Making Gothic mountains: Everest and the EcoGothic

An ecoGothic Everest is arguably a contemporary phenomenon, a lived experience, where human perceptions of the mountain as both monstrous and desirable are enacted through its commodified and environmentally unstable condition. Climate-changeinduced alterations on Everest are exacerbated by commercialism: melting glaciers, thickening air, and corrupted waters as corpses and human waste litter the mountainside. Meanwhile, there are accusations that Dark Tourism has found a home on the crowning peak of ‘the roof of the world,’ as would-be summiteers photograph bodies acting as route-markers, and droves of hopefuls pay large sums to swarm upon the slopes in their summit bids, regardless of numerous fatal tragedies fuelling the criticism of ‘bagging’ this most prestigious of peaks. Despite the contemporary nature of the ecoGothic on Everest, its manifestation is born out of a historical literary imagination which created the iconography of the Gothic mountain, alongside the rise of mountaineering and its accompanying literature. This article considers how the Gothic aesthetic has influenced mountaineering and in fact contributed to the creation and maintenance of an ecoGothic Everest. The Gothic terror of Everest today is not generated primarily through fictional reimaginings of the untameable wilderness, but through encountering the human-made degradation of the peak, consolidating the mountain as a site of lived ecoGothic in current times. By focalising Everest through the ecoGothic, George Mallory’s famous statement of intent to summit, ‘because it is there,’ no longer seems a legitimate motivation behind so-called human mastery of the mountain

Osvojování jazyka za pomoci adaptivní zjednodušené četby

ENG The present thesis deals with graded readers and their contribution to L2 acquisition, more specifically their potential in connection with interactive fiction and adaptive learning mechanisms. For the purposes of this study, an adaptive graded reader was written in three levels of difficulty (based on vocabulary) and programmed as an interactive script in the form of a visual novel. Its effects were then tested on a group of Czech learners of English and on a control group. The experimental subjects could access the more demanding levels of the material by passing an assessment at the end of each chapter. The subjects in the control group, on the contrary, were given a non-interactive version of the reader with no checking for readiness. The results of the experiment revealed no statistically significant differences between the two groups, with both versions of the task leading to similar overall results. Despite this, the subjects in the experimental group reported greater satisfaction and considered the material more effective compared to the control group. The implications of the study suggest that while both versions of the reader were effective in vocabulary instruction, the adaptive graded reader was better received by the subjects and, therefore, could lead to greater motivation and...ČJ Tato práce se zabývá zjednodušenou četbou a jejím přínosem pro osvojování cizích jazyků, konkrétněji jejím potenciálem ve spojení s interaktivní fikcí a adaptivním vzděláváním. Pro účely této studie byla vytvořena adaptivní zjednodušená četba ve třech stupních obtížnosti (dle slovní zásoby), naprogramována jako interaktivní skript ve formě vizuálního románu a její efektivita byla testována na skupině českých studentů angličtiny v porovnání s kontrolní skupinou. Experimentální skupina mohla postoupit do náročnějších úrovní materiálu za podmínky, že na konci každé kapitoly získala dostatek bodů v hodnocení. Kontrolní skupina dostala neinteraktivní verzi četby bez ověřování připravenosti nutnému k postupu do další úrovně. Výsledky experimentu neodhalily statisticky významný rozdíl mezi dvěma skupinami. Účastníci výzkumu uvedli větší spokojenost s adaptivní verzí četby a ve srovnání s kontrolní skupinou považovali materiál za efektivnější. Implikace studie naznačují, že ačkoli obě verze byly při výuce slovní zásoby efektivní, adaptivní zjednodušená četba byla subjekty lépe přijímána, a proto by mohla v budoucnu vést k lepší motivaci a soustavnějšímu učení. Je třeba provést rozsáhlejší šetření, které by porovnalo adaptivní verzi zjednodušené četby s běžněji používanými digitálními médii. Klíčová...Department of the English Language and ELT MethodologyÚstav anglického jazyka a didaktikyFaculty of ArtsFilozofická fakult