Towards a Computational Model of Dramatic Tension

One of the approaches to generate narrative consists in modeling narrative in terms of a deep structure, as introduced by narrative theories in the middle of the 20th century. This papers revisits this computational approach, and raises the central issue of dramatic tension: Would it be possible to build a computational model of dramatic tension, where tension could be managed according to the well known ascending/descending dramatic curve? The paper describes a new computational model of narrative, based on a set of structural narrative elements (goals, tasks, obstacles, side-effects), a hierarchical and modular approach, a paradox-based model of dramatic tension and a solution for managing endings. The papers illustrates this theoretical model with a full example

Interactive Narrative Design beyond the Secret Art Status: A Method to Verify Design Conventions for Interactive Narrative

In recent years, game narrative has emerged as an area for novel game concepts and as a strategy to distinguish a particular title. However, innovation in this area comes primarily from indie companies and individual efforts by noted designers. There is a lack of trained specialists ready to produce interactive narrative experiences. Many existing practitioners are self-trained and often rely on intuition in their design practice. A key element missing from the effort towards a more sustained development and improved professional training is a set of design conventions that fulfill a role comparable to cinematic conventions like continuity editing or montage. Therefore, our research focuses on identifying, verifying and collecting such design strategies. We describe an empirical method to verify candidate design conventions through the evaluation of user reaction to A/B prototypes, which improves upon the trial-and-error process of old

Pericles, Prince of Tyre: Transforming a Shakespeare Play for Gamified Experience

This paper is rooted in an exploration of an ongoing research project to produce a VR game based on Shakespeare’s lesser-known romance Pericles, Prince of Tyre. We argue that the play, a maritime travelogue recounting the story of a family separated at sea and brought together again by fate, is well suited for the demands of gamification, offering rich potential for first-person problem-solving, self-discovery, and world exploration. While its episodic nature, diversity of settings, and unexpected narrative trajectory have challenged those wishing to present the play on the traditional stage, we demonstrate how approaching the text through the lens of immersive gamified media offers the opportunity to re-evaluate and reconsider the “flawed” perception of the text. The paper takes our project as a case study to outline how we approached the process of adapting the original play for gamification, framing our project within the broader context of both game adaptations of Shakespeare’s other works and previous creative, experimental adaptations of Pericles. In particular, we highlight how our practice-led research approach and partnership between animators, technical developers, and researchers at Nanyang Technological University, Singapore, and leading Shakespeare scholars associated with The Shakespeare Institute at the University of Birmingham, UK, brings together creative production, technical development, and academic research to create an experience that is both entertaining and offers an innovative interrogation of Shakespeare’s original plot and language. We hope the discussion offers valuable insight into both novel approaches to the adaptation of Shakespeare’s works and the gamification of classic texts more broadly

Pericles, Prince of Tyre: Transforming a Shakespeare Play for Gamified Experience

This paper is rooted in an exploration of an ongoing research project to produce a VR game based on Shakespeare’s lesser-known romance Pericles, Prince of Tyre. We argue that the play, a maritime travelogue recounting the story of a family separated at sea and brought together again by fate, is well suited for the demands of gamification, offering rich potential for first-person problem-solving, self-discovery, and world exploration. While its episodic nature, diversity of settings, and unexpected narrative trajectory have challenged those wishing to present the play on the traditional stage, we demonstrate how approaching the text through the lens of immersive gamified media offers the opportunity to re-evaluate and reconsider the “flawed” perception of the text. The paper takes our project as a case study to outline how we approached the process of adapting the original play for gamification, framing our project within the broader context of both game adaptations of Shakespeare’s other works and previous creative, experimental adaptations of Pericles. In particular, we highlight how our practice-led research approach and partnership between animators, technical developers, and researchers at Nanyang Technological University, Singapore, and leading Shakespeare scholars associated with The Shakespeare Institute at the University of Birmingham, UK, brings together creative production, technical development, and academic research to create an experience that is both entertaining and offers an innovative interrogation of Shakespeare’s original plot and language. We hope the discussion offers valuable insight into both novel approaches to the adaptation of Shakespeare’s works and the gamification of classic texts more broadly

Using emergent narrative

Narrativity in videogames is a complex subject. Most titles prefer delivering traditional narratives that resemble ones from films and books while other titles provide some choice to the player and have distinct endings. Yet, most of them fail at providing dynamic narratives. Unlike other media, in video games the player can interact with the world and the characters in real time. This theoretically provides a system that should be able to accept the player’s input and use it to build a coherent and interesting narrative. Is it possible to build a game with these ideals? and if it is possible, what is the current state of the technology? The main task will be researching, reading and organizing papers. Understanding what the researchers are saying will provide enough knowledge to create a solid work. Case studies will also be done to increase the comprehension of the subject. The final result offers theoretical knowledge about Interactive and Emergent narrative and their procedures as well as in Game Design. At the end there is a “Decalogue” with the most important insights of the work

Un modelo computacional del suspense en entornos narrativos e interactivos

El suspense es un recurso fundamental para generar gratificaciones emocionales e interés por las historias en una amplia diversidad de dominios narrativos. Su influencia va más allá del ámbito del ocio, contribuyendo a disciplinas como la educación y la psicología. Sin embargo y a pesar de su importancia, hasta la fecha no existe una especificación formal completa sobre su composición ni el impacto en la audiencia. Esto dificulta calibrar formalmente el nivel de suspense y determinar estrategias formales. En consecuencia, no es posible valorar con rigor sus efectos emocionales..

Por mil palabras. Una aproximación al fenómeno de la creación artística en el trabajo del narrador visual contemporáneo

El presente Trabajo de Fin de Grado examina desde un punto de vista teórico-práctico algunas de las cuestiones clave que estarían implícitas en el trabajo del narrador visual contemporáneo. La investigación plantea una aproximación a cómo las ilustraciones narrativas, con frecuencia subestimadas y olvidadas por la crítica, suelen ser el resultado de estrategias de gran interés creativo en la comunicación visual. Dichas cuestiones, relativas al proceso de creación artística, han procurado contextualizarse y relacionarse con distintas nociones teóricas pertenecientes a disciplinas como la semiótica y narratología. El recorrido empieza por la relación más general entre objeto y contenido, buscando dar respuesta a preguntas fundamentales como: si es posible narrar a través de imágenes bidimensionales estáticas, cómo se podrían crear diégesis creíbles visualmente y qué significaría entender la imagen como codificación. Se han tomado ejemplos del ámbito artístico contemporáneo, a fin de proporcionar un contexto que permita aplicar los conocimientos adquiridos en el ámbito profesional actual. El fin último de esta investigación es reivindicar el trabajo del narrador visual, así como enriquecer el discurso creativo y la producción plástica personal.The following Final Degree Project examines from a theoretical-practical point of view some of the key issues that would be implicit in the work of the contemporary visual storyteller. This research proposes an approach to how narrative illustrations, frequently underestimated and forgotten by critics, are usually the result of strategies of great creative interest in visual communication. These facts, relative to the process of artistic creation, have sought to be contextualized and related to different theoretical notions belonging to disciplines such as semiotics and narratology. Our journey starts from the general relationship between object and subject, seeking to find an answer to fundamental questions such as: if it is possible to narrate through two-dimensional static images, how to create visually believable diegesis and what it wouldd mean to understand the image as encoding. Examples have been taken from the contemporary artistic setting, in order to provide a context to apply the acquired knowledge to the current professional field. The ultimate goal of this research is to defend the work of the visual storyteller, as well as to enrich both my creative discourse and my personal plastic production.Universidad de Sevilla. Grado en Bellas Arte