Showing papers by "Marie-Laure Ryan published in 2008"

Interactive Narrative, Plot Types, and Interpersonal Relations

Abstract: The design of an interactive narrative begins with the choice of a type of story. In this paper I examine the potential of three kinds of plot for active user participation: the epic plot, which focuses on the struggle of the individual to survive in a hostile world, the dramatic plot, which deals with the evolution of a network of human relations, and the epistemic plot, which is propelled by the desire to solve a mystery. I distinguish two basic types of immersion--ludic and narrative, the latter subdivided into spatial, temporal and emotional variants, and I discuss the ability of the three kinds of plot to generate these various forms of immersion.

Cheap Plot Tricks, Plot Holes, and Narrative Design

Abstract: In narrative, plot exists on two levels: the plotting of the author, who creates the storyline; and the plotting of the characters, who set goals, devise plans, schemes and conspiracies, and try to arrange events to their advantage. The plotting of both author and characters is meant to exercise control: for the author, control over the reader, who must undergo a certain experience; for the characters, control over other char- acters and over the randomness of life. But sometimes the goals of the author are at odds with the goals of characters. The author needs to make the characters take par- ticular actions to produce a certain effect on the reader, such as intense suspense, cu- riosity, or emotional involvement; but acting toward this situation defies narrative logic, because is not in the best interest of the characters, or not in line with their per- sonality. In this article I propose to investigate two types of aesthetically deficient plot twists that arise from this conflict between author and character goals. One in- volves an active intervention by the author, an attempt to fix the problem through hackneyed devices; I call this "cheap plot tricks" (henceforth CPT). The other results from ignoring the problem, or covering it up, a strategy (or omission) that leads to what is known among film writers as "plot holes" (henceforth PH). Through this em- phasis on the kind of events that makes the sophisticated reader groan, I will be breaking away from the almost exclusively descriptive tradition of both classical and postclassical narratology, and I will adopt an evaluative stance closer to the prescrip- tive spirit of Aristotle's Poetics.