Interactive storytelling summary
Week 1 – literature................................................................................................................................. 2
Handbook: 1 Introduction................................................................................................................... 2
Handbook: 2 Background.................................................................................................................... 6
Handbook: 6 Storyworld ................................................................................................................... 14
Kinnebrock & Bilandzic (page 4-8) .................................................................................................... 17
Week 1 – Lecture .................................................................................................................................. 20
Week 2 – literature............................................................................................................................... 29
Handbook: 3 Platform ....................................................................................................................... 29
Handbook: 4 Designer....................................................................................................................... 33
Neitzel ............................................................................................................................................... 37
Roth, & Koenitz (2016) – same as one in week 4.............................................................................. 39
Murray (2016) – Chapter 2 ............................................................................................................... 43
Week 2 – Lecture .................................................................................................................................. 44
Week 3 – literature............................................................................................................................... 53
Bilandzic and Buselle......................................................................................................................... 53
Green et. Al. - Narrative effects ........................................................................................................ 59
Kinnebrock & Bilandzic (2006) .......................................................................................................... 63
Rigby & Ryan (2016) .......................................................................................................................... 65
Week 3 – lecture................................................................................................................................... 67
Week 4 – Literature .............................................................................................................................. 76
Handbook: 5 interactor ..................................................................................................................... 76
Busselle & Bilandzic (2008) ............................................................................................................... 79
Week 4 – lecture................................................................................................................................... 84
Week 5 – Literature .............................................................................................................................. 92
Moyer-Guse: Toward a Theory of Entertainment Persuasion .......................................................... 92
Winskell: Interactive Narrative in a Mobile Health Behavioral Intervention (Tumaini) ................... 97
Week 5 - Lecture................................................................................................................................. 100
Week 6 – Literature ............................................................................................................................ 109
Barkun: Conspiracy theories ........................................................................................................... 109
Dahlstrom & Ho: Ethical considerations ......................................................................................... 111
Week 6 – Lecture ................................................................................................................................ 113
Week 7 – Literature ............................................................................................................................ 122
Handbook: 7 Conclusion ................................................................................................................. 122
Week 7 – lecture................................................................................................................................. 124
1
,Week 1 – literature
Handbook: 1 Introduction
Murray -> Holodeck, can a computer provide the basis for an expressive narrative form?
-Concept of holodeck as an ideal form of interactive storytelling.
Interactive storytelling
-Storytelling is always interactive
-> there is a difference between reading a book and attending a live
action role-playing (LARP) game
- conventional storytelling (e.g., books or films)
where the author has a full control over
everything that happens in the story but audience has no control.
-simulation (or a sandbox)
where the audience (e.g., spectator or player) is free to choose whatever they want
to do but the author has no control over the possibly emerging stories.
➔ there is no author, but a member of the audience becomes their
own the author typically telling a story to themself.
-interactive storytelling
➔ something that resides in the middle of this spectrum
2
,Partakers
-two key partakers in interactive storytelling:
-> the one who creates the work and the one experiences it.
-The interactor
is the one who foremostly experiences the
story as it unravels.
-Storyworld
includes all the characters, props, scenes and
events set up by designer for interactor
-Props
inanimate objects, which can be
used in the storyworld.
-Events
cause changes launched by fulfilling
some criteria.
-Characters
both objects and agents of change.
Narrative, Plot and story
-An event is any (possibly unseen) event that the computer can demonstrate
➔ Narrated event
-immutable and set by the narrative designer.
➔ Computer-generated
-event is a result of processing done the underlying platform.
➔ Player generated event
-response to the interactor’s input.
➔ narrated events not necessarily needed in interactive storytelling
➔ The interactor’s perception of the sequence is illustrated in Figure 1.4. Events
have three functions in a story: they can set a scene, reveal a character, or be a
part of the plot.
3
, -plot event -> If an event is dramatically significant
- the event creates or releases the dramatic tension and is related (causally or by
subject matter) to the other experienced events.
➔ Figure 1.4 illustrates how they can correspond narrative events (e.g., cutscenes),
computer-generated events (e.g., a runtime decision by the platform to introduce a
new character) or player events (e.g., player choosing to save one of
the characters from a zombie attack and letting the others die).
➔ The plot is -advancing when the interactor is experiencing more plot
-stalled when this process ceases.
-obstructed if the interactor deliberately stalls the plot
➔ plot line: manifestation of the plot.
➔ predefined plot: If the plot is defined in advance by the designer
➔ manifold story: If the story can be different in each play
-Interaction
- Interaction can be seen as reciprocal action, where entities’ actions influence
one another.
➔ Crawford: “A cyclic process between two or more active agents in which each agent
alternately listens, thinks, and speaks”
➔ The interactive range (or freedom) of a software – such as an interactive
storytelling system – is simply the collection of choices made available
to the user
➔ Agency: means the user’s ability to influence on the system.
o the interactor’s ability to influence the plot line.
➔ Having a large interactive range (e.g., a vast array of options to choose from)
does not imply that the interactor has also a stronger agency unless the options
also have a meaningful and perceptible effect on the storyworld.
➔ Crawford 3 factors affecting the degree of interactivity in storytelling
o speed, depth, and choice.
▪ Speed
• the faster the turnaround is, the better are the possibilities
for interaction.
o Faster turnaround means that the communicating
parties can react faster and see the result of their
action faster.
o It creates a state of continuous ‘motion’
▪ Depth
• the human-likeness of the interaction
o the deeper, the more human-like
4
Week 1 – literature................................................................................................................................. 2
Handbook: 1 Introduction................................................................................................................... 2
Handbook: 2 Background.................................................................................................................... 6
Handbook: 6 Storyworld ................................................................................................................... 14
Kinnebrock & Bilandzic (page 4-8) .................................................................................................... 17
Week 1 – Lecture .................................................................................................................................. 20
Week 2 – literature............................................................................................................................... 29
Handbook: 3 Platform ....................................................................................................................... 29
Handbook: 4 Designer....................................................................................................................... 33
Neitzel ............................................................................................................................................... 37
Roth, & Koenitz (2016) – same as one in week 4.............................................................................. 39
Murray (2016) – Chapter 2 ............................................................................................................... 43
Week 2 – Lecture .................................................................................................................................. 44
Week 3 – literature............................................................................................................................... 53
Bilandzic and Buselle......................................................................................................................... 53
Green et. Al. - Narrative effects ........................................................................................................ 59
Kinnebrock & Bilandzic (2006) .......................................................................................................... 63
Rigby & Ryan (2016) .......................................................................................................................... 65
Week 3 – lecture................................................................................................................................... 67
Week 4 – Literature .............................................................................................................................. 76
Handbook: 5 interactor ..................................................................................................................... 76
Busselle & Bilandzic (2008) ............................................................................................................... 79
Week 4 – lecture................................................................................................................................... 84
Week 5 – Literature .............................................................................................................................. 92
Moyer-Guse: Toward a Theory of Entertainment Persuasion .......................................................... 92
Winskell: Interactive Narrative in a Mobile Health Behavioral Intervention (Tumaini) ................... 97
Week 5 - Lecture................................................................................................................................. 100
Week 6 – Literature ............................................................................................................................ 109
Barkun: Conspiracy theories ........................................................................................................... 109
Dahlstrom & Ho: Ethical considerations ......................................................................................... 111
Week 6 – Lecture ................................................................................................................................ 113
Week 7 – Literature ............................................................................................................................ 122
Handbook: 7 Conclusion ................................................................................................................. 122
Week 7 – lecture................................................................................................................................. 124
1
,Week 1 – literature
Handbook: 1 Introduction
Murray -> Holodeck, can a computer provide the basis for an expressive narrative form?
-Concept of holodeck as an ideal form of interactive storytelling.
Interactive storytelling
-Storytelling is always interactive
-> there is a difference between reading a book and attending a live
action role-playing (LARP) game
- conventional storytelling (e.g., books or films)
where the author has a full control over
everything that happens in the story but audience has no control.
-simulation (or a sandbox)
where the audience (e.g., spectator or player) is free to choose whatever they want
to do but the author has no control over the possibly emerging stories.
➔ there is no author, but a member of the audience becomes their
own the author typically telling a story to themself.
-interactive storytelling
➔ something that resides in the middle of this spectrum
2
,Partakers
-two key partakers in interactive storytelling:
-> the one who creates the work and the one experiences it.
-The interactor
is the one who foremostly experiences the
story as it unravels.
-Storyworld
includes all the characters, props, scenes and
events set up by designer for interactor
-Props
inanimate objects, which can be
used in the storyworld.
-Events
cause changes launched by fulfilling
some criteria.
-Characters
both objects and agents of change.
Narrative, Plot and story
-An event is any (possibly unseen) event that the computer can demonstrate
➔ Narrated event
-immutable and set by the narrative designer.
➔ Computer-generated
-event is a result of processing done the underlying platform.
➔ Player generated event
-response to the interactor’s input.
➔ narrated events not necessarily needed in interactive storytelling
➔ The interactor’s perception of the sequence is illustrated in Figure 1.4. Events
have three functions in a story: they can set a scene, reveal a character, or be a
part of the plot.
3
, -plot event -> If an event is dramatically significant
- the event creates or releases the dramatic tension and is related (causally or by
subject matter) to the other experienced events.
➔ Figure 1.4 illustrates how they can correspond narrative events (e.g., cutscenes),
computer-generated events (e.g., a runtime decision by the platform to introduce a
new character) or player events (e.g., player choosing to save one of
the characters from a zombie attack and letting the others die).
➔ The plot is -advancing when the interactor is experiencing more plot
-stalled when this process ceases.
-obstructed if the interactor deliberately stalls the plot
➔ plot line: manifestation of the plot.
➔ predefined plot: If the plot is defined in advance by the designer
➔ manifold story: If the story can be different in each play
-Interaction
- Interaction can be seen as reciprocal action, where entities’ actions influence
one another.
➔ Crawford: “A cyclic process between two or more active agents in which each agent
alternately listens, thinks, and speaks”
➔ The interactive range (or freedom) of a software – such as an interactive
storytelling system – is simply the collection of choices made available
to the user
➔ Agency: means the user’s ability to influence on the system.
o the interactor’s ability to influence the plot line.
➔ Having a large interactive range (e.g., a vast array of options to choose from)
does not imply that the interactor has also a stronger agency unless the options
also have a meaningful and perceptible effect on the storyworld.
➔ Crawford 3 factors affecting the degree of interactivity in storytelling
o speed, depth, and choice.
▪ Speed
• the faster the turnaround is, the better are the possibilities
for interaction.
o Faster turnaround means that the communicating
parties can react faster and see the result of their
action faster.
o It creates a state of continuous ‘motion’
▪ Depth
• the human-likeness of the interaction
o the deeper, the more human-like
4
