103,074 research outputs found
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
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
Reservoir hill and audiences for online interactive drama
This paper analyses the interactive experiences constructed for users of the New Zealand online interactive drama Reservoir Hill (2009, 2010), focusing both on the nature and levels of engagement which the series provided to users and the difficulties of audience research into this kind of media content. The series itself provided tightly prescribed forms of interactivity across multiple platforms, allowing forms of engagement that were greatly appreciated by its audience overall but actively explored only by a small proportion of users. The responses from members of the Reservoir Hill audience suggests that online users themselves are still learning the nature of, and constraints on, their engagements with various forms of online interactive media. This paper also engages with issue of how interactivity itself is defined, the difficulties of both connecting with audience members and securing timely access to online data, and the challenges of undertaking collaborative research with media producers in order to gain access to user data
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The book an adaptation from the film: technology, narrative, business & how the book industry might adapt the film
This paper proposes that the book, both its form and the book publishing industry that support it can make reference to how the film industry have reacted to technological change since the 1980 's. This can be done in such a way to transform how a book is marketed, published and perhaps read. Epstein (2010) describes how the film industry profited despites its best efforts, from technological advances. The book industry has an opportunity to learn both from the film and record industries using both industries as case studies to support the book's transition to a supporting digital format. There is an opportunity to make the debate not about Kindle versus Ipad, open-source ePub format versus locked down Kindle but about how to use non-linearity, choice vs control, structure and storytelling in a creative fashion. What is the book? It is more than its physical form. It is an experience. Current industry marketing practices, for instance the book review, the audio book, speaking tours all lend themselves to a multimedia approach that can reinforce the position of the book and the reading of the book in today's creative cultural environment
Reading a story. Different degrees of learning in different learning environments
he learning environment in which material is acquired may produce differences in delayed recall and in the elements that individuals focus on. These differences may appear even during development. In the present study, we compared three different learning environments in 450 normally developing 7-year-old children subdivided into three groups according to the type of learning environment. Specifically, children were asked to learn the same material shown in three different learning environments: reading illustrated books (TB); interacting with the same text displayed on a PC monitor and enriched with interactive activities (PC-IA); reading the same text on a PC monitor but not enriched with interactive narratives (PC-NoIA). Our results demonstrated that TB and PC-NoIA elicited better verbal memory recall. In contrast, PC-IA and PCNoIA produced higher scores for visuo-spatial memory, enhancing memory for spatial relations, positions and colors with respect to TB. Interestingly, only TB seemed to produce a deeper comprehension of the story's moral. Our results indicated that PC-IA offered a different type of learning that favored visual details. In this sense, interactive activities demonstrate certain limitations, probably due to information overabundance, emotional mobilization, emphasis on images and effort exerted in interactive activities. Thus, interactive activities, although entertaining, act as disruptive elements which interfere with verbal memory and deep moral comprehensio
Museum Experience Design: A Modern Storytelling Methodology
In this paper we propose a new direction for design, in the context of the theme âNext Digital Technologies in Arts and Cultureâ, by employing modern methods based on Interaction Design, Interactive Storytelling and Artificial Intelligence. Focusing on Cultural Heritage, we propose a new paradigm for Museum Experience Design, facilitating on the one hand traditional visual and multimedia communication and, on the other, a new type of interaction with artefacts, in the form of a Storytelling Experience. Museums are increasingly being transformed into hybrid spaces, where virtual (digital) information coexists with tangible artefacts. In this context, âNext Digital Technologiesâ play a new role, providing methods to increase cultural accessibility and enhance experience. Not only is the goal to convey stories hidden inside artefacts, as well as items or objects connected to them, but it is also to pave the way for the creation of new ones through an interactive museum experience that continues after the museum visit ends. Social sharing, in particular, can greatly increase the value of dissemination
Narrating the past: virtual environments and narrative
This paper explores how traditional narrative language used in film and theatre can be adapted to create interactivity and a greater sense of presence in the virtual heritage environment. It focuses on the fundamental principles of narrative required to create immersion and presence and investigates methods of embedding intangible social histories into these environments. These issues are explored in a case study of Greens Mill in the 1830âs, interweaving the story of the reform bill riots in Nottingham with the life of George Green, mathematician and proprietor of the Mill
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