Handbook on interactive storytelling. (2021)

• Record Type: Book
• Further Information: Note: Jouni Smed, Tomi Suovuo, Natasha Skult, Petter Skult.
• Authors: Smed, Jouni; Suovuo, Tomi, 1974-; Skult, Natasha, 1984-; Skult, Petter Harald Emanuel, 1985-
• Contents: Preface viii 1 Introduction 1 1.1 Interactive storytelling 3 1.1.1 Partakers 6 1.1.2 Narrative, plot and story 7 1.1.3 Interaction 9 1.2 History of interactive storytelling 11 1.2.1 Theatre 12 1.2.2 Multicursal literature 14 1.3 Role-playing games 15 1.3.1 Hypertext fiction 16 1.3.2 Webisodics 16 1.3.3 Interactive cinema 17 1.3.4 Television 19 1.3.5 Games 20 1.4 Summary 24 Exercises 24 2 Background 28 2.1 Analysis of storytelling 28 2.1.1 Aristotle’s Poetics 28 2.1.2 Visual storytelling 33 2.1.3 Structuralism 37 2.1.4 Joseph Campbell and the hero’s journey 47 2.1.5 Kernels and satellites 49 2.2 Research on interactive storytelling 50 2.2.1 Brenda Laurel and interactive drama 53 2.2.2 Janet Murray and the cyberbard 55 2.2.3 Models for interactive storytelling 56 2.2.4 Narrative paradox and other research challenges 57 2.3 Summary 62 Exercises 62 3 Platform 66 3.1 Software development 67 3.1.1 Model–view–controller 68 3.1.2 Interactor’s interface 70 3.1.3 Designer’s interface 73 3.1.4 Modding 73 3.2 Solving the narrative paradox 74 3.2.1 Author-centric approach 76 3.2.2 Character-centric approach 79 3.2.3 Hybrid approach 80 3.3 Implementations 82 3.3.1 Pioneering storytelling systems 82 3.3.2 Crawford’s IDS systems 84 3.3.3 Stern’s and Mateas’ Façade 85 3.3.4 Experimental systems 86 3.3.5 Other systems 87 3.4 Summary 88 Exercises 89 4 Designer 92 4.1 Storyworld types 93 4.1.1 Linear storyworlds 94 4.1.2 Branching storyworlds 96 4.1.3 Open storyworlds 99 4.2 Design process and tools 102 4.2.1 Concepting the storyworld 102 4.2.2 Iterative design process 109 4.2.3 Evaluating interactive stories 111 4.3 Relationship with the interactor 114 4.3.1 Focalization 114 4.3.2 Story as message 115 4.4 Summary 117 Exercises 117 5 Interactor 121 5.1 Experiencing an interactive story 122 5.1.1 Onboarding – from amnesia to awareness 124 5.1.2 Supporting the journey 124 5.1.3 Is there an end? 126 5.1.4 Re-experiencing an interactive story 127 5.2 Agency 128 5.2.1 Theoretical and perceived agency 129 5.2.2 Local and global agency 130 5.2.3 Invisible agency 130 5.2.4 Limited agency and no agency 131 5.2.5 Illusion of agency 131 5.3 Immersion 132 5.3.1 Immersion types 132 5.3.2 Models for immersion 133 5.3.3 Flow 134 5.4 Transformation 135 5.5 Interactor types 136 5.5.1 Top-down analysis 137 5.5.2 Bottom-up analysis 140 5.5.3 Discussion 141 5.6 Summary 141 Exercises 143 6 Storyworld 146 6.1 Characters 147 6.1.1 Perception 148 6.1.2 Memory 149 6.1.3 Personality 150 6.1.4 Decision-making 154 6.2 Elemental building blocks 157 6.2.1 Props 157 6.2.2 Scenes 160 6.2.3 Events 161 6.3 Representation 162 6.3.1 Visual 164 6.3.2 Audio 165 6.4 Summary 167 Exercises 167 7 Perspectives 170 7.1 Multiple interactors 170 7.1.1 Multiple focus 170 7.1.2 Persistence 171 7.2 Extended reality 172 7.2.1 Visual considerations 172 7.2.2 Developing a language of expression 174 7.3 Streaming media 175 7.3.1 Problems 175 7.3.2 Solution proposals 176 7.4 Other technological prospects 177 7.4.1 Voice recognition 177 7.4.2 Locating 178 7.4.3 Artificial intelligence 178 7.5 Ethical considerations 180 7.5.1 Platform 180 7.5.2 Designer 181 7.5.3 Interactor 182 7.5.4 Storyworld 182 7.6 Summary 182 Exercises 183 Bibliography 187 Ludography 204 <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">Index 207Preface <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">Imagine a group sitting by a campfire. The evening sky is getting dark and the first <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">stars begin to appear. Everybody is getting cosy and warm but something is missing. <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">Then somebody starts telling a story. <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">This setup could have happened at any time and anywhere in human history <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">– it might have included even our hominid ancestors. There is something inherently <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">human in the scene. The story and the process of telling it – they cannot be separated <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">from one another. Telling stories is how we construct our memories, how we pass on <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">our values and communicate our experiences. It allows us to have a glimpse into <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">another person’s mind. <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">Just us, and the story. <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">This book tells a story, a story of how stories could be told using digital media. <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">In many occasions digital media is said to revolutionize or disrupt the way things <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">have been done before. This is not what we are claiming here. Digital storytelling is <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">not about disruption, breaking or replacing old order. How could it? The stories will <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">remain stories as before. Rather, this will bring stories back to where they once were. <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">They will become alive, and include our digital world in them. Someone will tell the <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">story – human or computer – to somebody else – human or computer. This will be <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">the new digital campfire. <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">Acknowledgments <div id="_mcePaste" style="position: absolute; left: -10000px; top: 0px; width: 1px; height: 1px; overflow: hidden;">First and foremost the authors would like to thank Harri Hakonen for his early i
• Edition: 1st
• Publisher Details: Hoboken : John Wiley & Sons, Inc
• Publication Date: 2021
• Extent: 1 online resource
• Subjects: 794.8151; Video games -- Authorship; Video games -- Design; Interactive multimedia -- Authorship; Interactive multimedia -- Design
• Languages: English
• ISBNs: 9781119688174
• Related ISBNs: 9781119688136
• Notes: Note: Includes bibliographical references and index.; Note: Description based on CIP data; resource not viewed.
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.