‘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

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

Lights, camera, interaction! Interactive Film and its Transformative Potential.

This thesis concentrates on the emerging field of interactive film. Digital interactive and networked media offer so many possibilities to create stories that it is necessary to define what an interactive film is and whether there is any continuity with the linear film form. This thesis explores whether interactive narratives in the form of interactive film have the potential to offer a transformative learning experience regarding societal and political topics. Butterfly is an interactive short film that uses a second-screen technique to raise awareness of the dangers of cyberbullying. As a case study for a potential transformative experience, the film is described and evaluated by means of interactive screenings and a user experience study. Findings show there is definite potential for interactive films to create strong emotions in users and to possibly produce a transformative experience with educational implications. Keywords: Transformative design, Interactive Narrative Design, Interactive film, User Experience Evaluation

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

'Stitched up' in the 'Conversengine': using expressive processing and multimodal languages to create a character-driven interactive digital narrative

My practice-based research, which this thesis supports, explores the question: How can a convincing interactive character, with apparent psychological depth, be modelled in a playable digital narrative that adapts to reader choice? To this end I am building my own platform, the 'Conversengine', for authoring and, in future, publishing and playing text-driven interactive narratives that rely on enactment rather than narration. Currently, the platform consists of the 'Convowriter', the authoring tool, which I am using to develop 'Stitched Up', an interactive psychological thriller. Using the concept of the black box from second-order cybernetics with possible worlds and theory of mind from narratology, I show how combining these theories, mapping one onto another, provides a framework for not only thinking about the character-driven interactive narrative, but also a methodology for authoring one, in both natural language and computer code, and designing its richly responsive visual interface. This incorporates a unique emotional data visualisation system ('emoviz') to dynamically represent interactive fictional characters. This system is built upon the Pleasure-Arousal-Dominance Emotional State Model (Russell and Mehrabian, 1977) and informed by existing psychological research into colour, shape and motion. I contend that abstract visualisations, coupled with the characters' text-based thoughts and/or speech, can eloquently express convincing mental and emotional behaviour. This provides the feedback in my cybernetic 'steering-a-course' game engine, which, whilst maintaining narrative coherence, allows the reader-player to steer their own course through the narrative. Creating an interactive narrative of this kind, which simulates psychological rather than physical action, requires a different approach to game writing, development and design. In part two of this thesis, I explore how the distinction between story and narrative discourse has practical implications for the creation of interactive digital narratives. I discuss how using existing game engines and tools can be limiting, and how this led to building my own interactive narrative engine with its own expressive domain-specific language. I show how the combined features of the 'Conversengine' offer a new way of representing complex interactive characters with psychological depth

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

Project knole: an autocosmic approach to authoring resonant computational characters

Project knole, consisting of this thesis and a mixed reality installation artwork centred around a computational simulation, is a practice-based response to the question of how a character in a work of computational narrative art might maintain their defining quality of dynamic agency within a system (arguably one of the key potentials of the form), while achieving the ‘resonant’ qualities of characters in more materially-static artforms. In all aspects of this project, I explore a new design philosophy for achieving this balance; between the authorship of a procedural computational system, and the ability of that system to ‘resonate’ with the imagination of an audience. This philosophy, which I term the ‘autocosmic’, seeks inspiration for the curation of audience response outside the obvious boundaries of artistic discipline, across the wider spectrum of human imaginative engagement; examples often drawn from mostly non-aesthetic domains. As well as defining the terms ‘resonance’ and ‘autocosmic’, and delineating my methodology more generally, this thesis demonstrates how the ‘autocosmic’ was employed within my creative work. In particular, it shows how some of the perennial problems of computational character development might be mediated by exploring other non-aesthetic examples of imaginative, narrative engagement with personified systems. In the context of this project, such examples come from the historio-cultural relationship between human beings and the environments they inhabit, outside of formal artistic practice. From this ‘autocosmic’ launchpad, I have developed an artwork that starts to explore how this rich cultural and biological lineage of human social engagement with systemic place can be applied fruitfully to the development of a ‘resonant’ computational character