INDCOR white paper 1: A shared vocabulary for IDN (Interactive Digital Narratives)

COST Action 18230 INDCOR (Interactive Narrative Design for Complexity Representations) is an interdisciplinary network of researchers and practitioners intended to further the use of interactive digital narratives (IDN1) to represent highly complex topics. IDN possess crucial advantages in this regard, but more knowledge is needed to realize these advantages in broad usage by media producers and the general public. The lack of a shared vocabulary is a crucial obstacle on the path to a generalized, accessible body of IDN knowledge. This white paper frames the situation from the perspective of INDCOR and describes the creation of an online encyclopedia as a means to overcome this issue. Two similar and successful projects (The Living Handbook of Narratology and the Stanford Encyclopedia of Philosophy) serve as examples for this effort, showing how community-authored encyclopedias can provide high-quality content. The authors introduce a taxonomy based on an overarching analytical framework (SPP model) as the foundational element of the encyclopedia, and detail editorial procedures for the project, including a peer-review process, designed to assure high academic quality and relevance of encyclopedia entries. Also, a sample entry provides guidance for authors

‘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

A Spectrum of Audience Interactivity for entertainment domains

The concept of audience interactivity has been rediscovered across many domains of storytelling and entertainment—e.g. digital games, in-person role-playing, film, theater performance, music, and theme parks—that enrich the form with new idioms, language, and practices. In this paper, we introduce a Spectrum of Audience Interactivity that establishes a common vocabulary for the design space across entertainment domains. Our spectrum expands on an early vocabulary conceptualized through co-design sessions for interactive musical performances. We conduct a cross-disciplinary literature review to evaluate and iterate upon this vocabulary, using our findings to develop our validated spectrum

INDCOR white paper 4: Evaluation of Interactive Narrative Design For Complexity Representations

While a strength of Interactive Digital Narratives (IDN) is its support for multiperspectivity, this also poses a substantial challenge to its evaluation. Moreover, evaluation has to assess the system's ability to represent a complex reality as well as the user's understanding of that complex reality as a result of the experience of interacting with the system. This is needed to measure an IDN's efficiency and effectiveness in representing the chosen complex phenomenon. We here present some empirical methods employed by INDCOR members in their research including UX toolkits and scales. Particularly, we consider the impact of IDN on transformative learning and its evaluation through self-reporting and other alternatives.Comment: arXiv admin note: text overlap with arXiv:2010.1013

Generating story variants with constrained video recombination

We present a novel approach to the automatic generation of filmic variants within an implemented Video-Based Storytelling (VBS) system that successfully integrates video segmentation with stochastically controlled re-ordering techniques and narrative generation via AI planning. We have introduced flexibility into the video recombination process by sequencing video shots in a way that maintains local video consistency and this is combined with exploitation of shot polysemy to enable shot reuse in a range of valid semantic contexts. Results of evaluations on output narratives using a shared set of video data show consistency in terms of local video sequences and global causality with no loss of generative power

Texts of Discomfort: Interactive Storytelling Art

Can discomfort be blissful? This volume presents an in-depth reflection of the selected artworks for the Art Exhibition of the 13th International Conference on Interactive Digital Storytelling - ICIDS 2020 - organized at Bournemouth University - UK, during the most memorable year of the XXI century (so far). The title of the book is the homonym of the curatorial theme of the exhibition Texts of Discomfort. In these pages, interactive storytellers explain their work and the ways discomfort - and bliss - is rooted in their art

'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