Authoring for Interactive Storytelling Workshop

One of the most significant challenges facing narrative systems research is the authoring of interactive storytelling, and the processes and technology to support it. In this workshop we propose to host a discussion and presented new work in this space from researchers in creative and technical domains from both the Hypertext and Interactive Storytelling communities

Authoring for interactive storytelling: When, why, and do we actually need authoring tools?

© Springer Nature Switzerland AG 2018. One of the most significant challenges facing narrative systems research is the authoring of interactive stories, and the processes and technologies to support it. In this workshop we host a discussion and present new work in this space from researchers in creative and technical domains from both the Hypertext and Interactive Storytelling communities and explore the question: When, why, and do we actually need authoring tools?

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

The IRIS Network of Excellence: Future Directions in Interactive Storytelling

International audienceThe IRIS Network of Excellence started its work in January 2009. In this paper we highlight some new research directions developing within the network: one is revisiting narrative formalisation through the use of Linear Logic and the other is challenging the conventional framework of basing Interactive Storytelling on computer graphics to explore the content-based recombination of video sequences

A Novel Design Pipeline for Authoring Tools

Interactive digital narrative research presents a diverse range of authoring tools. Although our field often publishes the technology, it less often publishes a refined UX design pipeline for those tools' authoring experience. This is despite the UX of these tools long being identified as a key challenge and UX design pipelines being an active area of research in adjacent technologies such as the games that sometimes deliver our stories. We present a three-stage design pipeline targeting the creation of interactive narrative authoring tools that is informed by existing design pipelines that consider the user and their experience at all stages. We then detail our own application of this pipeline to the design of a new authoring tool, reporting on the methodologies, analyses, and findings of each step

Stepping into the Interactive Drama

Interactive Drama is the ultimate challenge of digital entertainment. In this paper, from our seven year experience in Interactive Drama, we try to shape the history of the field and envision what will be (or should be) the future of this history. Two main directions in particular are stressed, because we feel that the success of Interactive Drama lies in these two directions. The first one concerns the architecture of systems and how it would manage both narrative constraints and character's intelligence, believability and roundness. The second one focuses on project management by sketching a methodology of co-design fo

Face-to-Face With Your Assistant -- Realization Issues of Animated User Interface Agents for Home Appliances

With the introduction of software agents and assistants, the concept of so-called social user interfaces evolved, incorporating natural language interaction, context awareness and anthropomorphic representations of visuals, scales, and degrees of freedom for interactions. Today's challenge is to build a suitable visualization architecture for anthropomorphic conversational user interfaces, and to design for the believable and appropriate inclusion of human attributes (such as emotions) in a face-toface interaction. Integrated approaches to these tasks are presented here

Design issues for conversational user interfaces: Animating and controlling 3D faces

Software agents and assistants together with their adequate visual representations lead to so-called social user interfaces, incorporating natural language interaction, context awareness and anthropomorphic avatars. Today s challenge is to build a suitable visualization architecture for anthropomorphic conversational user interfaces, and to design believable and appropriate face-to-face interactions including human attributes such as emotions. An integrated approach to these tasks is presented

Setting in scene: Playing digital director in interactive storytelling and creation

Interactive digital storytelling promises to be a new artistic discipline. But what does the artwork look like? And how much control does the artist have over the final result? By searching for the right answers, we draw several approaches from diverse fields such as filmmaking, game design, autonomous agents, psychology, and narrative intelligence. We first give a definition of interactive storytelling that includes a scope between authorship and emergent narrative, and present two example projects with different emphases. Then, we introduce a multi-level concept for an experimental stage that can be used to explore interactive storytelling at varying degrees of flexibility versus predetermination. Instead of inventing the ultimate virtual narrator, we suggest developing layers of run-time engines that allow authors to work with directions on each single layer separately-from selecting high-level dramatic structures down to directing animated actors. The concept of underlying models at each level is explained in detail by the example of a story model implementation. Further, we show variations of level adjustments causing graded degrees of semi-autonomy. First results of this experimental stage are presented, and the primary future tasks are pointed out