25,040 research outputs found

    Player agency in interactive narrative: audience, actor & author

    Get PDF
    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, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ 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 Brecht’s Epic Theatre and Boal’s 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

    Museum Experience Design: A Modern Storytelling Methodology

    Get PDF
    In this paper we propose a new direction for design, in the context of the theme “Next Digital Technologies in Arts and Culture”, 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, “Next Digital Technologies” 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

    Fans and Adaptation: An Analysis of the Use of Interactive Storytelling in The Lizzie Bennet Diaries

    Get PDF
    By using adaptations of Jane Austen’s classic novel Pride and Prejudice (1813) as a frame of reference, my thesis will demonstrate that transmedia narratives are most effective in tandem with original texts that have a history of successful adaptations due to the perpetual audience of fans and their previous knowledge of the story to meaningfully, as well as canonically, interact with the narrative. This thesis will first introduce theories surrounding adaptations and look at previous Pride and Prejudice adaptations in light of a devoted fan base. It will then introduce the concept of transmedia narratives and examine the culture of fans and their interactions with texts in the digital age. Lastly, I will analyze the success of the Internet production company Pemberley Digital and their transmedia YouTube adaptation of Pride and Prejudice that boasts a view count of 82.2 million views and secured an Emmy. This analysis will apply the theories on transmedia, fandom, and adaptation introduced in the first three sections to demonstrate that interactive transmedia narratives are most effective when they have an established fan base, which is most easily found in popular texts prone to adaptations. Digital storytelling will only continue to grow, especially as upcoming generations favor online streaming and independent producers as opposed to the cable television shows created by the larger media corporations. The research contained within this thesis will show the importance of appealing to wider audiences by creating richer, more immersive narratives through transmedia and paratexts that encourage collective authorship

    Reappraising Always

    Get PDF
    Steven Spielberg's 1989 film Always represents one of the director's few critical and commercial disappointments. This paper examines the extent to which the film's failures are attributable to its formal, stylistic, and narrative features. The paper offers a defence of Always against specific reproaches. It also pursues more positive aims. Following Warren Buckland, the paper pinpoints organic unity as Spielberg's primary compositional principle; it tracks the development of motifs, tactics of foreshadowing, and other internal norms to demonstrate the formation of a structurally unified text; and it posits contrasts with a pertinent antecedent, A Guy Named Joe (Victor Fleming, 1943), so as to set Spielberg's artistic achievements in relief. The paper goes on to isolate some putatively troublesome manoeuvres at the film's internal level. Certain of these problematic aspects, I argue, force us to recognise that important narrative effects can be yielded by modulated deviations from organic unity. The collective aim of these arguments is to suggest that Always is apt for critical revaluation. Over this hovers a secondary objective. The paper seeks to disclaim two interrelated faults ascribed to Spielberg: a characteristic supplanting of narrative coherence by spectacle; and an indifference to subtlety and sophistication

    Agents for educational games and simulations

    Get PDF
    This book consists mainly of revised papers that were presented at the Agents for Educational Games and Simulation (AEGS) workshop held on May 2, 2011, as part of the Autonomous Agents and MultiAgent Systems (AAMAS) conference in Taipei, Taiwan. The 12 full papers presented were carefully reviewed and selected from various submissions. The papers are organized topical sections on middleware applications, dialogues and learning, adaption and convergence, and agent applications

    The wire and the world: narrative and metanarrative

    Get PDF
    Rarely, if ever, has a television drama constructed a narrative with such a strong thrust to metanarrative. Its intricate and interwoven storylines dramatise the dialectical interaction of individual aspirations and institutional dynamics. These build into a story of a city, not only the story of Baltimore in its particularity, but with a metaphoric drive toward the story of Everycity. Every character and storyline pulses with symbolic resonance radiating out to a characterisation of the nature of contemporary capitalism. While the text itself does not name the system, the metatext does so with extraordinary clarity and force. David Simon, the primary voice of this collective creation, has engaged in a powerfully polemical discourse articulating the world view underlying the drama. This paper will explore that world view. It will examine how specific plots open into an analysis of the social-political-economic system shaping it all. It will moreover argue that The Wire has demonstrated the potential of television narrative to dramatise the nature of the social order, a potential that has long been neglected or inadequately pursued in the history of television drama. In probing the parameters of the intricate interactions between individuals and institutions, The Wire excavates underlying structures of power and stimulates engagement with overarching ideas.It bristles, even boils over, with systemic critique. While it offers no expectation of an alternative, it provokes reflection on the need for one and an aspiration towards one. Indeed some commentators have raised the question of whether The Wire is a marxist television drama. While David Simon has explicitly stated that he is not a marxist, the question remains. What would a marxist television drama look like? It would look very much like The Wire, this paper contends

    It Was TV: Teaching HBO\u27s The Wire as a Television Series

    Get PDF
    Unlike most courses dedicated to The Wire that have examined race, class, criminal justice, urban studies, or education, Sodano foregrounds The Wire as a work of television and examines how it was taught to media majors and non-majors from aesthetic, cultural, technological, economic, and sociological perspectives. It is crucial to recognize The Wire as a piece of television because the circumstances surrounding its appearance on HBO provide context for how it was produced, distributed, and received

    A review of interactive narrative systems and technologies: a training perspective

    Get PDF
    As an emerging form of digital entertainment, interactive narrative has attracted great attention of researchers over the past decade. Recently, there is an emerging trend to apply interactive narrative for training and simulation. An interactive narrative system allows players to proactively interact with simulated entities in a virtual world and have the ability to alter the progression of a storyline. In simulation-based training, the use of an interactive narrative system enables the possibility to offer engaging, diverse and personalized narratives or scenarios for different training purposes. This paper provides a review of interactive narrative systems and technologies from a training perspective. Specifically, we first propose a set of key requirements in developing interactive narrative systems for simulation-based training. Then we review nine representative existing systems with respect to their system architectures, features and related mechanisms. To examine their applicability to training, we investigate and compare the reviewed systems based on the functionalities and modules that support the proposed requirements. Furthermore, we discuss some open research issues on future development of interactive narrative technologies for training applications

    Emotion-driven interactive storytelling.

    Get PDF
    Interactive storytelling has attracted plenty of research interest in recent years. Most current interactive storytelling systems follow a goal-oriented approach to story representation, i.e. the user is engaged with the story through fulfilling a number of goals rather than empathising with the characters and experiencing anenriched emotional experience (Pizzi and Cavazza 2007). This fails to satisfy potential users who are oriented to traditional media, such as movies (Louchart et al. 2008) and demographic groups who are interested in attractive and challenging stories (Duh et al. 2010). Given this consideration, an emotion-driven interactive storytelling approach is proposed in this research. In contrast to the goal-oriented interactive storytelling approach, emotion-driven interactive storytelling attempts to create an engaging emotional experience, and involve the user’s emotion with the characters. More importantly, the user’s emotions, evoked by empathising with the characters, determine the character’s behaviours and therefore have an impact on the whole storyline. In this sense, emotions, as a driving force, directly and explicitly contribute to storytelling and the user experience. An interactive video was made by re-editing existing TV material to interpret the concept of emotion-driven interactive storytelling. The examination of user experience of playing this interactive video revealed that non-gamers were more likely to be emotionally involved with the interactive video and empathise with the character. Participants in this group also exhibited higher enjoyment and engagement than gamers. In addition, females were found more likely to empathise with the character and satisfy with the storyline. However because the TV material used to make the interactive video was female-oriented, males failed to enjoy and engage themselves as much as females. But it is important to note that in comparison to males’ previous experience of watching TV Ugly Betty, emotion-driven interactive storytelling increased their enjoyment and engagement. Therefore, emotion-driven interactive storytelling enriches the approach to developing interactive storytelling systems and has the potential to provide an engaging user experience to some types of users. Future research possibilities are discussed with respect to a wider population and research where materials suitable for both genders are presented

    'Properer Men': myth, manhood and the Trojan war in Greene, Shakespeare and Heywood

    Get PDF
    No abstract available
    • 

    corecore