5,675 research outputs found
From Personalization to Adaptivity: Creating Immersive Visits through Interactive Digital Storytelling at the Acropolis Museum
Storytelling has recently become a popular way to guide museum visitors, replacing traditional exhibit-centric descriptions by story-centric cohesive narrations with references to the exhibits and multimedia content. This work presents the fundamental elements of the CHESS project approach, the goal of which is to provide adaptive, personalized, interactive storytelling for museum visits. We shortly present the CHESS project and its background, we detail the proposed storytelling and user models, we describe the provided functionality and we outline the main tools and mechanisms employed. Finally, we present the preliminary results of a recent evaluation study that are informing several directions for future work
Exploring digital comics as an edutainment tool: An overview
This paper aims t oexplore the growing potential of
digital comics and graphic novels as an edutainment
tool.Initially, the evolvement of comics medium
along with academic and commercial initiatives in
designing comicware systems arebriefly discussed.
Prominent to this study, the methods and impact of
utilizing this visual media with embedded instructional content and student-generated comics in
classroom setting are rationallyoutlined.By
recognizing the emerging technologies available for
supporting and accelerating educational comic
development, this article addresses the diverse
research challenges and opportunities of innovating
effective strategies to enhance comics integrated
learning across disciplines
âIMPLICIT CREATIONâ â 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 âhighly-interactiveâ experiences of digital worlds with compelling stories. However, the situation for story creators approaching âhighly-interactiveâ 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 âimplicit creationâ, 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 (âScenejoâ) for the creation of digital conversational stories, and b) the development of a serious game (âThe Killer Phrase Gameâ) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of âimplicit creationâ 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 âimplicit creationâ 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
Textual Authoring for Interactive Narrative
Narrative design and implementation in interactive softwares has always possessed an intrinsic issue, in that the person or persons with the responsibility of authoring the narrative will most likely lack ability in programming. Because the narrative does eventually become implemented in software, the in uence the technical side has on the creative side is unavoidable. The design of the March22 Engine, its scripting language, and its accompanying authoring tool are all designed to facilitate those of least programming ability, whilst not limiting those of greater ability. By making the scripting language as similar to a screenplay as possible, and showing the ow of narrative via charts, the writer is left with as little programming requirements as possible, whilst still able to produce quality narrative
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
Player agency in interactive narrative: audience, actor & author
The question motivating this review paper is, how can
computer-based interactive narrative be used as a constructivist learn-
ing activity? The paper proposes that player agency can be used to
link interactive narrative to learner agency in constructivist theory,
and to classify approaches to interactive narrative. The traditional
question driving research in interactive narrative is, âhow can an in-
teractive narrative deal with a high degree of player agency, while
maintaining a coherent and well-formed narrative?â This question
derives from an Aristotelian approach to interactive narrative that,
as the question shows, is inherently antagonistic to player agency.
Within this approach, player agency must be restricted and manip-
ulated to maintain the narrative. Two alternative approaches based
on Brechtâs Epic Theatre and Boalâs Theatre of the Oppressed are
reviewed. If a Boalian approach to interactive narrative is taken the
conflict between narrative and player agency dissolves. The question
that emerges from this approach is quite different from the traditional
question above, and presents a more useful approach to applying in-
teractive narrative as a constructivist learning activity
Real-Time Storytelling with Events in Virtual Worlds
We present an accessible interactive narrative tool for creating stories among a virtual populace inhabiting a fully-realized 3D virtual world. Our system supports two modalities: assisted authoring where a human storyteller designs stories using a storyboard-like interface called CANVAS, and exploratory authoring where a human author experiences a story as it happens in real-time and makes on-the-fly narrative trajectory changes using a tool called Storycraft. In both cases, our system analyzes the semantic content of the world and the narrative being composed, and provides automated assistance such as completing partially-specified stories with causally complete sequences of intermediate actions. At its core, our system revolves around events -Ăą?? pre-authored multi-actor task sequences describing interactions between groups of actors and props. These events integrate complex animation and interaction tasks with precision control and expose them as atoms of narrative significance to the story direction systems. Events are an accessible tool and conceptual metaphor for assembling narrative arcs, providing a tightly-coupled solution to the problem of converting author intent to real-time animation synthesis. Our system allows simple and straightforward macro- and microscopic control over large numbers of virtual characters with diverse and sophisticated behavior capabilities, and reduces the complicated action space of an interactive narrative by providing analysis and user assistance in the form of semi-automation and recommendation services
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