Summary of all the literature in-depth (handbook + articles) and video lectures of week 1-7, including video lecture notes. Also includes pictures of discussed models and example slides from the lectures.
,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
Voordelen van het kopen van samenvattingen bij Stuvia op een rij:
Verzekerd van kwaliteit door reviews
Stuvia-klanten hebben meer dan 700.000 samenvattingen beoordeeld. Zo weet je zeker dat je de beste documenten koopt!
Snel en makkelijk kopen
Je betaalt supersnel en eenmalig met iDeal, creditcard of Stuvia-tegoed voor de samenvatting. Zonder lidmaatschap.
Focus op de essentie
Samenvattingen worden geschreven voor en door anderen. Daarom zijn de samenvattingen altijd betrouwbaar en actueel. Zo kom je snel tot de kern!
Veelgestelde vragen
Wat krijg ik als ik dit document koop?
Je krijgt een PDF, die direct beschikbaar is na je aankoop. Het gekochte document is altijd, overal en oneindig toegankelijk via je profiel.
Tevredenheidsgarantie: hoe werkt dat?
Onze tevredenheidsgarantie zorgt ervoor dat je altijd een studiedocument vindt dat goed bij je past. Je vult een formulier in en onze klantenservice regelt de rest.
Van wie koop ik deze samenvatting?
Stuvia is een marktplaats, je koop dit document dus niet van ons, maar van verkoper laurade. Stuvia faciliteert de betaling aan de verkoper.
Zit ik meteen vast aan een abonnement?
Nee, je koopt alleen deze samenvatting voor €6,49. Je zit daarna nergens aan vast.
