A Computational Model of Narrative Generation for Surprise Arousal
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Citations
A Survey on Story Generation Techniques for Authoring Computational Narratives
Exploring the Development of ‘Interest’ in Learning English as a Foreign/Second Language:
Evaluating the Pairwise Event Salience Hypothesis in Indexter.
The campfire storytelling system – automatic creation and modification of a narrative
References
The Cognitive Structure of Emotions
Narrative discourse : an essay in method
Towards a Cognitive Theory of Emotions
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Frequently Asked Questions (12)
Q2. What are the future works in this paper?
As future work, I consider three potential extensions of Prevoyant: a story plan‟s cinematic realization ; combination of surprise and suspense ; and interactive storytelling. The following sections explain these three areas for future work.
Q3. Why does Universe have a nonlinear narrative space structure?
Universe has a nonlinear narrative space structure because of its boundless extensibility using the concept of plot fragment and character development, which provides central ideas with later nonlinear interactive systems.
Q4. What is the role of surprise in entertainment?
In terms of entertainment, surprise has a functional role of maintaining and focusing attention, which helps to keep the audience from distraction.
Q5. What are the three temporal narrative devices used by storytellers?
Three temporal narrative devices particularly associated with cinematic narratives (Chatman, 1978; Prince, 2003; Bordwell, 1986) are often used by storytellers to manipulate3the presentation order of story events: flashforward, foreshadowing, and flashback.
Q6. What is the main function of surprise in narratives?
In narratives, one of the main functional roles of surprise is to stimulate a reader‟s cognitive interest, which can be drawn out from the narrative structure rather than the emotional impact of the story (Kintsch, 1980).
Q7. What is the effect of the selection of the flashback with high causal importance?
The selection of the flashback with high causal importance contributes to the story interestingness, increasing the postdictability in retrospect.
Q8. How did they simulate the response of a user to an interactive drama?
In order to simulate a user‟s response to an interactive drama in the virtual environments, they conducted “first live interactive improvisation” experiments with human actors and a drama director.
Q9. What were the reasons for excluding the characters from subjects favorites?
Both Erica‟s rather ambiguous identity and the lack of Jack‟s activity as the antagonist in the story were pointed out as reasons for excluding these characters from subjects‟ favorites.
Q10. What is the definition of unanticipated incongruities?
Unanticipated incongruities are passive cognitive activity in that the agent does not actively expect any propositions in conflict with an input proposition.
Q11. What was the effect of the two different discourse types on the ratings of surprise and interestingness?
75A one-way ANOVA confirmed that at least two discourse types had significant effects on the ratings of surprise, F(2, 15 df) = 9.61, p = .002, and on the ratings of interestingness, F(2, 15 df) = 5.24, p = .019.
Q12. What is the example of incongruity resolution using flashback?
An excellent example of incongruity resolution using flashback would be the flashback scene at the ending in The Usual Suspects (1995), where the detective interrogating “Verbal” Kint realizes the truth – who Keyser Söze actually is – right after releasing Kint.