Showing papers presented at "International Conference on Interactive Digital Storytelling in 2018"

Re-Tellings: The Fourth Layer of Narrative as an Instrument for Critique

Abstract: The fourth layer of narrative in Interactive Narrative Systems (INS), such as games, is the players’ re-tellings of the stories they have experienced when playing. The occurrence of re-tellings can be considered as an indicator for a well designed INS and as an instrument of critique - the experiences of play are important and memorable to such a degree to the players that they find them worthy to tell others about. The notion of the fourth layer is added to the structural model of IN Systems having (1) a base architectural layer giving conditions for a (2) second layer of narrative design, while a (3) third layer is the narrative discourse - eg. the unique, session-specific played or traversed sequences of events. In relation to this, the Story Construction model is described.

A Framework for Classifying and Describing Authoring Tools for Interactive Digital Narrative

Abstract: Authoring tools are a crucial component in the practice and research of interactive digital narrative design, yet no recent meta-analysis or mapping of such tools exists that would make it possible to comparatively study their defining qualities and characteristics and their effects on the artefacts produced with them. As a first step towards this goal, we created an online resource [1] in which we surveyed and classified over 300 tools. This paper lays out our proposed categorisation and description framework for IDN authoring tools. After exploring our definition of authoring tools and research methodology, we describe 9 categories and 38 descriptors for tool analysis and comparison. We conclude with a sample analysis of Twine [2].

Research into Interactive Digital Narrative: A Kaleidoscopic View

Abstract: We are at a milestone moment in the development of the cultural form of Interactive Digital Narrative (IDN), and in the development of the study of IDN as a field of academic research and graduate education. We can date the beginning of the field to the late 1960s with the release of Joseph Weizenbaum’s Eliza in 1966, and recognize the late 1990s as another turning point when 30 years of diverse development began to coalesce into a recognizable new media practice. For the past 20 years we have seen accelerated growth in theory and practice, but the discourse has been split among contributory fields. With the convening of IDN as the focus of study in its own right, we can address key questions, such as its distinct history, taxonomy, and aesthetics. We can also recognize more clearly our unique challenges in studying a field that is evolving rapidly, and from multiple intersecting genetic strains. We can also articulate and investigate the potential of IDN as an expressive framework for engaging with the most pressing themes of human culture of the 21st century, and as a cognitive scaffold for increasing our individual and collective understanding of complex systems.

Ludonarrative Hermeneutics: A Way Out and the Narrative Paradox

Abstract: The practice of designing Interactive Digital Narratives [IDN] is often described as a challenge facing issues such as the “narrative paradox” and avoiding the unintentional creation of “ludonarrative dissonance”. These terms are expressions of a perspective that takes narrative and interactivity as dichotomic ends of a design trajectory, mirroring an enduring discussion in game studies between positions often cast as ludologists and narratologists. The dichotomy of ludo versus narrative is, in itself, problematic and is often the source of the very conflict it describes. In this paper, we investigate this issue through the example of the cooperative game A Way Out, in which two players team up to break out of prison. The game is designed with a narrative twist, involving the escalation and final resolution of the game’s competitive motif in the final scene. To understand the user experiences of this reveal, and the concomitant consequences, we engage in a discursive analysis of “Let’s Play” videos as a largely untapped resource for research. By analyzing the interactions and performances in these videos, we can more clearly understand player responses to unsatisfying IDN design. As a result we introduce the notion of a ‘hermeneutic strip’, extending Koenitz’ SPP model to locate and describe the involved processes of narrative cognition in IDN work.

Applying Interactive Storytelling in Cultural Heritage: Opportunities, Challenges and Lessons Learned:

Abstract: Digital storytelling in cultural heritage contexts has been recognized as a direction that cultural heritage institutions, including museums and historical sites, need to invest in to attract and engage their audiences. The term “interactive storytelling” is often used to characterize existing digital applications, whether these incorporate narrative structures or not. However, is “interactive storytelling” with its strict definition actually strongly present as an art form within the domain of cultural heritage, especially for on-site mobile experiences? In this work, we report on our experience and lessons learnt during our efforts to apply the genre of interactive storytelling in the heritage sector with the aim to more effectively support both authors and users of mobile interactive storytelling apps.

Director’s Cut - Analysis of Aspects of Interactive Storytelling for VR Films

Abstract: To explore methods that are currently used by professional virtual reality (VR) filmmakers to tell their stories and guide users, we analyze how end-users view \(360^\circ \) video in the presence of directional cues and evaluate if they are able to follow the actual story of narrative \(360^\circ \) films. In this context, we first collected data from five professional VR filmmakers. The data contains eight \(360^\circ \) videos, the directors cut, which is the intended viewing direction of the director, plot points and directional cues used for user guidance. Then, we performed a subjective experiment with 20 test subjects viewing the videos while their head orientation was recorded. Finally, we present and discuss the experimental results and show, among others, that visual discomfort and disorientation on part of the viewer not only lessen the immersive quality of the films but also cause difficulties in the viewer gaining a full understanding of the narrative that the director wished them to view.

Contemporary Issues in Interactive Storytelling Authoring Systems

Abstract: Authoring tools for interactive narrative abstract underlying data models to allow authors to write creative works. Understanding how our program and interface design decisions alter the User Experience design could lead to more robust authoring experiences. We contribute a taxonomy of authoring tools with identified program and User Experience observations with discussion into their impact on the authoring experience as well as reflection on two detailed experiments. We then present our own authoring tool, Novella, and discuss how it has implemented the lessons learned from the analysis and how it approaches solving the identified challenges.

Toward an Ethics of Interactive Storytelling at Dark Tourism Sites in Virtual Reality

Abstract: A number of VR storytelling experiences transport their users to representations of real world sites in which there has been death, pain, suffering, and tragedy. Much of the current scholarship regarding these VR experiences grapples with their technical success or failure. Less explored are the philosophical and ethical implications of transporting users to such dark sites. In an effort to fill in a knowledge gap, research from the field of dark tourism studies will be used to inform how VR stories might morally construct their representations. For over two decades, the field of dark tourism has grappled with the ethical planning, managing, and facilitating of tours at sites where atrocities, crimes, disaster, tragedy, and death have occurred. Dark tourism tour guides, interactive storytellers in their own right, have negotiated these dark narratives for centuries. This paper proposes that visits to dark tourism sites in VR should not just parallel current models of dark tourism but utilize the affordances of the medium to facilitate new opportunities for ethical compassion and understanding in the mediation of mortality. A foundational step toward an ethics for these kinds of dark VR experiences is put forward for future discussion.

Sketching a Map of the Storylets Design Space

Abstract: Linear and branching narrative structures are widespread in games, but limited in their dynamism and expressiveness. We consider the alternative storylets model of interactive narrative content, in which a game’s narrative is assembled from a database of discrete, reorderable narrative “chunks” or “modules” known as storylets. This paper represents a first attempt to map out the design space of storylet-based narrative systems in games. We define the common elements of storylet-based systems; categorize such systems along several distinct dimensions; and survey implementations of such systems in existing games.

The Myth of ‘Universal’ Narrative Models

Abstract: In narrative game design and related practices, the role and function of narrative models is described as predominantly pragmatic. However, we see that many interactive digital narratives (IDN) including narrative video games derive their story structures from the same formulas connected to Joseph Campbell and Aristotle, adhering to the trajectory of the Hero’s Journey and the dramatic arc. We engage with scholarly criticism exposing the supposed ubiquity of these structures and agree that the question of narrative models in interactive digital media requires both further exploration and intervention. We follow up on some proposed solutions by looking at non-Western narrative traditions to expand the corpus of narrative structures available to game designers and other narrative developers. With this paper we raise awareness of alternative structures and simultaneously introduce implementable narrative structures with the aim to expand the design space and range of analytical models for IDN.

Spatial Storytelling: Finding Interdisciplinary Immersion

Abstract: This paper is part of an ongoing transdisciplinary research into immersion. In specific, it focuses on Spatial Storytelling to examine the narrative technique in conjunction with Spatial Presence, a commonly accepted subtype of Presence. How our real-life occupation is a constant narrative making exercise and how storytelling is ingrained in our movement in space. It is argued here that immersion and presence models stand to benefit from spatial theory, particularly, the body of work surrounding spatial practices and narratives. Further, that the incorporation of spatial theory adds to the necessary versatility required in approaching immersion, which has been thus far dominated by positivist empiricism. Contributions of a theorized space are also found missing from interactive storytelling and videogames where subject/object interactivity is seen as mere actions performed inside a given space whereas the paper argues that space is learnt through such involvement.

Measuring User Experience on Interactive Fiction in Cinematic Virtual Reality

Abstract: This paper proposes a methodology to measure User Experience (UX) dimensions on Interactive Fiction in Cinematic Virtual Reality (IFcVR), in order to evaluate the effectiveness of IFcVR as a narrative form and as a vehicle for different types of messages. The presented methodology merges Human Computer Interface (HCI) evaluation techniques with Interactive Digital Narrative (IDN) user dimensions, and gathers both qualitative and quantitative data by mixing different types of instruments. An experimental evaluation of an interactive VR fiction film functional prototype demonstrates the viability of the proposed methodology while gathered data shows a positive acceptance by the participants to IFcVR as an entertaining and immersive experience.

Social Viewing in Cinematic Virtual Reality: Challenges and Opportunities

Abstract: Cinematic Virtual Reality (CVR) has been increasing in popularity in the last years. However, viewers can feel isolated when watching 360° movies with a Head-Mounted Display. Since watching movies is a social experience for most people, we investigate if the use of Head Mounted Displays is appropriate for enabling shared CVR experiences. In this context, even if viewers are watching the movie simultaneously, they do not automatically see the same field of view, since they can freely choose the viewing direction. Based on the literature and experiences from past user studies, we identify seven challenges. To address these challenges, we present and discuss design ideas for a CVR social movie player and highlight directions for future work.

Jonathan Swift: Augmented Reality Application for Trinity Library’s Long Room

Abstract: This demo paper describes a project that engages cutting-edge free viewpoint video (FVV) techniques for developing content for an augmented reality prototype. The article traces the evolutionary process from concept, through narrative development, to completed AR prototypes for the HoloLens and handheld mobile devices. It concludes with some reflections on the affordances of the various hardware formats and posits future directions for the research.

Cue Control: Interactive Sound Spatialization for 360\(^\circ \) Videos

Abstract: In the 360\(^\circ \) videos, the role of sound became crucial as it not only contributes to the participant’s level of Presence (the feeling of being in the virtual environment) but can also provide viewers with a periodical awareness of their surroundings; therefore, audio can guide user attention toward desired points. In this sense, the sonic elements of a 360\(^\circ \) video assume an interactive role, as sounds become notifying elements or icons. In the paper, we describe Cue Control, an audio editor that facilitates the creation of soundtracks for 360\(^\circ \) videos. The user can control the location of the sonic elements by positioning the sounds in the virtual 3D space following the desired timeline; Cue Control automatically creates a cue list of the spatial soundtrack events for playback. The software also allows for different interactive modalities of playback, adapting the cue list to the viewpoint of the user. We conducted a small pilot study where Cue Control was used to assemble the soundtrack of two 360\(^\circ \) videos. According to the data gathered, we present some preliminary reflections about the use of sound to guide users’ attention in 360\(^\circ \) videos towards points of interest.

Faoladh: A Case Study in Cinematic VR Storytelling and Production

Abstract: Portraying traditional cinematic narratives in virtual reality (VR) is an emerging practice where often the methods normally associated with cinematic storytelling need to be adapted to the \(360^\circ \) format. In this paper we investigate some proposed cinematic practices for narrative storytelling in a cinematic VR film set in late 9th century Ireland that follows the perilous journey young Celt as he evades being captured by Viking raiders. From this we will analyze the fidelity of those practices with results collected from YouTube Analytics.

Would You Follow the Suggestions of a Storyteller Robot

Abstract: This work describes a study in development that uses an autonomous social robot to act as storyteller and persuader in an interactive storytelling scenario. The robot employs techniques of persuasion to try to convince the audience to take a specific path in the story. The autonomous storyteller robot performs facial expression and head movements to express emotions regarding the story flow and the person’s decisions. Through a pilot study with four participants, we were able to identify the improvements needed. The findings revealed that the robot could give better suggestions to try to persuade a person before s/he makes a final decision. At the same time, we believe that some interaction changes could potentially increase the motivation, interest and engagement of users in the task.

Automatic Detection of Conflicts in Complex Narrative Structures

Abstract: The central notion of conflict in drama is well-acknowledged but not properly formalized. Computational models of conflict tend to target one specific type of conflict and consequently lose the global point of view on the story. Using a model of dramatic structure, this article specifies a number of conflict types within a unified model and proposes an algorithm to automatically extract all conflicts within a narrative structure. The algorithm is then tested on a storyworld that shows as many as 31 coexisting conflicts. Finally, a cluster analysis on these conflicts is performed, showing that in the considered case, conflicts can be reduced to three main “conflict groups.”

Communicating Assertiveness in Robotic Storytellers

Abstract: Social robots have been used to perform the role of storytellers in areas like education and pediatric rehabilitation. With the use of this technology, it is possible to setup different voices, simulate emotional states and even personalities for the same robot. However, finding the best setting that might define a trait for a storyteller robot, is not an easy task. What elements should be manipulated? Should it have a personality? If yes, which one? In this work, we try to answer these questions by studying several setups that will allow us to create an assertive social robot to act as a storyteller. We evaluate the assertiveness impression by manipulating three robot characteristics: posture, pitch, and speech rate. A within-subject study was conducted with 37 participants watching eight videos in which a social robot tells a short story. In each video, the robot presents a different setup, and the participant reports the level of assertiveness of that robot. We found a significant difference between the setups of pitch and posture as well as an acceptable assertive robot’s configuration using a combination of those three characteristics.

Playing with Vision: Sight and Seeing as Narrative and Game Mechanics in Survival Horror

Abstract: A considerable number of survival horror titles use the modification of sight and seeing, in particular the disruption and enhancement of the same, as important elements in relation to story and game mechanics. Examples range from simple obscuration of the gameworld by mist and darkness to highly sophisticated approaches that direct break the fourth wall with visual effects that belong not to the game world but to the player’s reality. Grouping the approaches under five headings—obscuration, distortion, mediation, perspectivity and disruption—this paper presents a comparative analysis of ten survival horror titles with a view to understanding how sight and seeing are used as story elements and narrative mechanics across the genre.

Thoughts on a Discipline for the Study of Interactive Digital Narratives

Abstract: This paper presents arguments for the creation of an academic discipline concerned with the analysis and design of interactive digital narratives, akin to game studies. I analyse the status quo as the result of foundational aspects and the effects of the historical development of games studies before identifying a range of problems that have their root cause in the lack of an academic home and the support structures that come with it. In particular, the lack of a legitimizing framework translates into difficulties with academic recognition, reduced opportunities for grants and scholarships, scarcity of academic positions, and discontinuity of research which amounts to academic memory loss. In order to understand where the field stands, I apply three perspectives on requirements for an academic discipline from outside the field and come to the conclusion that while much progress has been made, there are areas in need of further attention, in particular when it comes to formal programs of study. Conversely, I identify the development of degree programs as an area needing particular attention in order to create an academic discipline.

Interactive Digital Narratives (IDN) for Change

Abstract: This paper shares the results of an interactive digital narrative (IDN) project, conducted at HKU University of the Arts Utrecht. We consider the potential of ‘IDN for change’, before we describe the project, the underlying design approach and the educational approaches. A particular focus of this paper is on pedagogical considerations. We describe the educational challenges we have encountered during the project as well as the pedagogical interventions we have implemented to counter these difficulties. On this basis, we discuss a more general perspective on the state and issues in IDN-focused pedagogy.

StoryMINE: A System for Multiplayer Interactive Narrative Experiences

Abstract: Multiplayer Interactive Narrative Experiences (MINEs) are interactive authored narratives in which multiple players experience distinct narratives (multiplayer differentiability) and their actions influence the storylines of both themselves and others (inter-player agency). Little research has been done to explore the possibilities of this type of narrative, and no complete model nor system exists. In this paper we introduce a model for MINEs based on sculptural hypertext and describe its implementation in a prototype system: StoryMINE. Then using a number of working narrative scenarios we demonstrate that the model and system supports a variety of inter-player interactions. It is our hope that this system provides a platform for the creation and reading of MINEs, and that this in turn creates opportunities for further research into this novel form of digital storytelling.

Expressive Range Analysis of a Possible Worlds Driven Emergent Narrative System

Abstract: Analyzing the potential and affordances of emergent narrative systems is an ongoing challenge, especially in novel or experimental systems. In this poster we explore the use of expressive range analysis (ERA) [1] to analyze an emergent system based upon the possible worlds model of Ryan [2]. We introduce the system and the properties of conflict that can be identified in a given work made in the system. The ERA analysis is performed by treating an emergent system as an exploration of a conflict space through actions. This paper serves as a foundation for deeper exploration of possible worlds narrative systems and quantifiable means for understanding them.

Making new narrative structures with actor’s eye-contact in cinematic virtual reality (CVR)

Abstract: With an advent of the VR market, using 360-degree cameras to create Cinematic VR (CVR) experiences opened up a prominent question that can challenge the traditional film narratology. Additional fields of view are allowed so the viewers in CVR can move their heads to choose more attentive and informative scenes, but frequent scene changes are not welcomed due to VR nausea. These technical drawbacks (and/or advantages) demand a new narratology for CVR, in particular, how the director of CVR can convey certain narratives to the viewers in conjunction with how he/she can attract the viewers to look at the acting persons in the 360-degree scenes. In this study, we employed well-established underpinnings of both eye contact and gaze, by which the acting persons in CVR can effectively convey the narrative structure, and, at the same time, more attentiveness from the viewer in CVR can be ensured. We completed two versions of CVR, one with the traditional film narratology and the other for the new CVR narratology (i.e., eye contact and gaze) proposed in this article, and are now in the stage of evaluation. Our preliminary results showed that the viewers in the CVR film with more eye contact and gazes effectively presented the narratives of the film and also were more satisfied with the CVR environment.

A model for describing alternate reality games

Abstract: Alternate Reality Games (ARGs) are a form of transmedia storytelling that are difficult to describe and analyse due to their inherent ephemerality and use of multiple media channels. But critical analyses of ARGs and a deeper understanding of how they work are needed for both improvements in ARG design theory, and to aid in the preservation of ARG content and structure. This paper presents a way to describe and analyse ARGs, the ARG Descriptive Model (ADM), that combines together features from several existing approaches to create a more holistic description of an ARG. The ADM is then applied to two case studies to demonstrate how it can be used to model the media channels, potential navigation routes between these channels, and how these channels evolve over time. The paper shows that this approach can be applied to create a basis for a common methodology for ARG analyses.

Playing Story Creation Games with Logical Abduction

Abstract: Story Creation Games, such as Rory’s Story Cubes and the Tell Tale card game, require players to invent creative and coherent narratives from a set of unconnected elements assembled by random chance, e.g., the throw of a die or the draw of a card. We model this human ability as a process of logical abduction, where the reasoning task is to identify a set of assumptions about a fictional world that logically entail the elements depicted on the dice or on the cards. We demonstrate the feasibility of this approach by hand-authoring a knowledge base of axioms that is sufficient to generate eight creative narratives each related to three Tell Tale cards, depicting a baseball player, a heart, and a train.

How Do Writing Tools Shape Interactive Stories

Abstract: Interactive Digital Storytelling is a diverse field, with a variety of different tools and platforms, many of them bespoke. Understanding how these tools effect the stories created using them would allow authors to better select tools for projects, and help developers understand the consequences of their design decisions. We present an initial exploration of this question, using a critical reflection method to analyze the process of adapting a story from StoryPlaces into both Twine and Inform 7. We report four significant differences that posed challenges for adaptation: support for rewinding and/or revisiting, the definition and description of locations, the way in which text is delivered to the reader, and how navigational cues are provided to help readers progress the story. Our observations show that tools impact the stories created using them in ways that are not obvious when working with one platform alone.

Comparing Player Responses to Choice-Based Interactive Narratives Using Facial Expression Analysis

Abstract: Interactive storytelling balances the desire to create dynamic, engaging experiences around characters and situations with the practical considerations of the cost of producing content. We describe a method for assessing player experience by analyzing player facial expressions following key content events in The Wolf Among Us by Telltale Games. Two metrics, engagement and valence, are extracted for six participants who play the first episode of the game. An analysis of the variance and distribution of responses relative to emotionally charged content events and choices suggests that content is designed around events that serve to anchor player emotions while providing the freedom to respond through emotionally-motivated choice selections and content elicitors.

Towards Generating Stylistic Dialogues for Narratives Using Data-Driven Approaches

Abstract: Recently, there has been a renewed interest in generating dialogues for narratives. Within narrative dialogues, their structure and content are essential, though style holds an important role as a mean to express narrative dialogue through telling stories. Most existing approaches of narrative dialogue generation tend to leverage hand-crafted rules and linguistic-level styles, which lead to limitations in their expressivity and issues with scalability. We aim to investigate the potential of generating more stylistic dialogues within the context of narratives. To reach this, we propose a new approach and demonstrate its feasibility through the support of deep learning. We also describe this approach using examples, where story-level features are analysed and modelled based on a classification of characters and genres.