ISBN-13: 9781119688136 / Angielski / Twarda / 2021 / 224 str.
ISBN-13: 9781119688136 / Angielski / Twarda / 2021 / 224 str.
Interactive storytelling is a popular research area without a disciplinary framework where contributions are usually coming from different disciplines such as computer science, communication studies, games studies or film studies. This book, on the other hand, employs an interdisciplinary approach and provides an innovative framework to analyze interactive narratives. Students can use the book to understand the theory of interactive narrative and its impact on game design. Professionals can buy the book for a better understanding of the recent developments and approaches in this domain.- Barbaros Bostan, Bahcesehir UniversityThe Handbook on Interactive Storytelling provides a remarkably clear introduction to what stories and storytelling are, their operation, and how they can be analysed and understood, and then proceeds to present various solutions for creating interactive storytelling. Rich in examples and loaded with concrete assignments, the Handbook is an excellent textbook on a significant, evolving phenomena, discussing art, techniques, users, as well as the conceptual and theoretical dimensions of interactive storytelling. The book is packed with insights, drawing from classic works of interactive fiction, story-driven computer games, interactive drama, and many scientific, artistic, and technological experiments. It should be of high value for students in game studies, interaction design, literary studies, drama, and computer sciences alike.- Frans Mäyrä, Professor & DirectorTampere University & The Centre of Excellence in Game Culture Studies
Preface viii1 Introduction 11.1 Interactive storytelling 31.1.1 Partakers 61.1.2 Narrative, plot and story 71.1.3 Interaction 91.2 History of interactive storytelling 111.2.1 Theatre 121.2.2 Multicursal literature 141.3 Role-playing games 151.3.1 Hypertext fiction 161.3.2 Webisodics 161.3.3 Interactive cinema 171.3.4 Television 191.3.5 Games 201.4 Summary 24Exercises 242 Background 282.1 Analysis of storytelling 282.1.1 Aristotle's Poetics 282.1.2 Visual storytelling 332.1.3 Structuralism 372.1.4 Joseph Campbell and the hero's journey 472.1.5 Kernels and satellites 492.2 Research on interactive storytelling 502.2.1 Brenda Laurel and interactive drama 532.2.2 Janet Murray and the cyberbard 552.2.3 Models for interactive storytelling 562.2.4 Narrative paradox and other research challenges 572.3 Summary 62Exercises 623 Platform 663.1 Software development 673.1.1 Model-view-controller 683.1.2 Interactor's interface 703.1.3 Designer's interface 733.1.4 Modding 733.2 Solving the narrative paradox 743.2.1 Author-centric approach 763.2.2 Character-centric approach 793.2.3 Hybrid approach 803.3 Implementations 823.3.1 Pioneering storytelling systems 823.3.2 Crawford's IDS systems 843.3.3 Stern's and Mateas' Façade 853.3.4 Experimental systems 863.3.5 Other systems 873.4 Summary 88Exercises 894 Designer 924.1 Storyworld types 934.1.1 Linear storyworlds 944.1.2 Branching storyworlds 964.1.3 Open storyworlds 994.2 Design process and tools 1024.2.1 Concepting the storyworld 1024.2.2 Iterative design process 1094.2.3 Evaluating interactive stories 1114.3 Relationship with the interactor 1144.3.1 Focalization 1144.3.2 Story as message 1154.4 Summary 117Exercises 1175 Interactor 1215.1 Experiencing an interactive story 1225.1.1 Onboarding - from amnesia to awareness 1245.1.2 Supporting the journey 1245.1.3 Is there an end? 1265.1.4 Re-experiencing an interactive story 1275.2 Agency 1285.2.1 Theoretical and perceived agency 1295.2.2 Local and global agency 1305.2.3 Invisible agency 1305.2.4 Limited agency and no agency 1315.2.5 Illusion of agency 1315.3 Immersion 1325.3.1 Immersion types 1325.3.2 Models for immersion 1335.3.3 Flow 1345.4 Transformation 1355.5 Interactor types 1365.5.1 Top-down analysis 1375.5.2 Bottom-up analysis 1405.5.3 Discussion 1415.6 Summary 141Exercises 1436 Storyworld 1466.1 Characters 1476.1.1 Perception 1486.1.2 Memory 1496.1.3 Personality 1506.1.4 Decision-making 1546.2 Elemental building blocks 1576.2.1 Props 1576.2.2 Scenes 1606.2.3 Events 1616.3 Representation 1626.3.1 Visual 1646.3.2 Audio 1656.4 Summary 167Exercises 1677 Perspectives 1707.1 Multiple interactors 1707.1.1 Multiple focus 1707.1.2 Persistence 1717.2 Extended reality 1727.2.1 Visual considerations 1727.2.2 Developing a language of expression 1747.3 Streaming media 1757.3.1 Problems 1757.3.2 Solution proposals 1767.4 Other technological prospects 1777.4.1 Voice recognition 1777.4.2 Locating 1787.4.3 Artificial intelligence 1787.5 Ethical considerations 1807.5.1 Platform 1807.5.2 Designer 1817.5.3 Interactor 1827.5.4 Storyworld 1827.6 Summary 182Exercises 183Bibliography 187Ludography 204Index 207Preface Imagine a group sitting by a campfire. The evening sky is getting dark and the first stars begin to appear. Everybody is getting cosy and warm but something is missing. Then somebody starts telling a story. This setup could have happened at any time and anywhere in human history - it might have included even our hominid ancestors. There is something inherently human in the scene. The story and the process of telling it - they cannot be separated from one another. Telling stories is how we construct our memories, how we pass on our values and communicate our experiences. It allows us to have a glimpse into another person's mind. Just us, and the story. This book tells a story, a story of how stories could be told using digital media. In many occasions digital media is said to revolutionize or disrupt the way things have been done before. This is not what we are claiming here. Digital storytelling is not about disruption, breaking or replacing old order. How could it? The stories will remain stories as before. Rather, this will bring stories back to where they once were. They will become alive, and include our digital world in them. Someone will tell the story - human or computer - to somebody else - human or computer. This will be the new digital campfire. Acknowledgments First and foremost the authors would like to thank Harri Hakonen for his early involvement and initial work in analysing the material and having sharp views and insights into the essential matters. We would like to thank the team at Wiley for their efforts, especially our editor Sandra Grayson and managing editor Juliet Booker. We are grateful for their flexibility during the trying times of the COVID-19 pandemic that have rattled up also our writing process. Jouni. I want to acknowledge the important role that my late friend and colleague Timo Kaukoranta played twenty years ago in launching this expedition into the world of interactive storytelling. I express my gratitude to the valuable input from the students over the years, and I am indebted to everybody who has attended my courses on interactive storytelling at the University of Turku in 2004-20. My special greetings go to Lilia and Julian: I am always amazed by your fantastical storyworlds, and, now that I am done writing (at least for a while), I will be happy to spend more time hanging out there with Lord Kanther, D'opa, Härpats and your other marvellous creations. And Iris, thank you for being there - living, laughing and loving. BGT. I wish to thank the hobbyist associations of Turun science fiction seura, Turun yliopiston tieteiskulttuurikabinetti and Turun yliopiston rooli- ja strategiapeliseura for providing for inspiration and insightful discussions relating to storytelling and games. I also wish to thank everyone I have played role playing games and live action role playing games with, especially those who endured the most ridiculous and embarrassing clumsy experiments of mine on this field of interactive storytelling. Loving thanks also to my dearest wife and role playing company, Riikka. Natasha. I wish to thank fellow authors of this book, it has been an amazing journey and inspiring collaboration which is one of many to come. I also want to thank IGDA Finland, Turku Game Hub and MiTale teams for all the support and tireless discussions on the topics of interactive storytelling and 'industry' views. I wish to dedicate special gratitude to my family, Petter and Sara, for endless support and inspiration. Petter. I want to thank Åbo Akademi University for keeping me on as a researcher after finishing my PhD during the writing of this book, my fellow authors for their patience and expertise, and of course to my family and friends for their support. Turku/Åbo, Finland November 2020 Jouni Smed Tomi 'bgt' Suovuo Natasha Skult Petter SkultPreface Imagine a group sitting by a campfire. The evening sky is getting dark and the first stars begin to appear. Everybody is getting cosy and warm but something is missing. Then somebody starts telling a story. This setup could have happened at any time and anywhere in human history - it might have included even our hominid ancestors. There is something inherently human in the scene. The story and the process of telling it - they cannot be separated from one another. Telling stories is how we construct our memories, how we pass on our values and communicate our experiences. It allows us to have a glimpse into another person's mind. Just us, and the story. This book tells a story, a story of how stories could be told using digital media. In many occasions digital media is said to revolutionize or disrupt the way things have been done before. This is not what we are claiming here. Digital storytelling is not about disruption, breaking or replacing old order. How could it? The stories will remain stories as before. Rather, this will bring stories back to where they once were. They will become alive, and include our digital world in them. Someone will tell the story - human or computer - to somebody else - human or computer. This will be the new digital campfire. Acknowledgments First and foremost the authors would like to thank Harri Hakonen for his early involvement and initial work in analysing the material and having sharp views and insights into the essential matters. We would like to thank the team at Wiley for their efforts, especially our editor Sandra Grayson and managing editor Juliet Booker. We are grateful for their flexibility during the trying times of the COVID-19 pandemic that have rattled up also our writing process. Jouni. I want to acknowledge the important role that my late friend and colleague Timo Kaukoranta played twenty years ago in launching this expedition into the world of interactive storytelling. I express my gratitude to the valuable input from the students over the years, and I am indebted to everybody who has attended my courses on interactive storytelling at the University of Turku in 2004-20. My special greetings go to Lilia and Julian: I am always amazed by your fantastical storyworlds, and, now that I am done writing (at least for a while), I will be happy to spend more time hanging out there with Lord Kanther, D'opa, Härpats and your other marvellous creations. And Iris, thank you for being there - living, laughing and loving. BGT. I wish to thank the hobbyist associations of Turun science fiction seura, Turun yliopiston tieteiskulttuurikabinetti and Turun yliopiston rooli- ja strategiapeliseura for providing for inspiration and insightful discussions relating to storytelling and games. I also wish to thank everyone I have played role playing games and live action role playing games with, especially those who endured the most ridiculous and embarrassing clumsy experiments of mine on this field of interactive storytelling. Loving thanks also to my dearest wife and role playing company, Riikka. Natasha. I wish to thank fellow authors of this book, it has been an amazing journey and inspiring collaboration which is one of many to come. I also want to thank IGDA Finland, Turku Game Hub and MiTale teams for all the support and tireless discussions on the topics of interactive storytelling and 'industry' views. I wish to dedicate special gratitude to my family, Petter and Sara, for endless support and inspiration. Petter. I want to thank Åbo Akademi University for keeping me on as a researcher after finishing my PhD during the writing of this book, my fellow authors for their patience and expertise, and of course to my family and friends for their support. Turku/Åbo, Finland November 2020 Jouni Smed Tomi 'bgt' Suovuo Natasha Skult Petter Skult
Jouni Smed, PhD, holds his doctorate in Computer Science. He has twenty years of experience in the game development, from algorithms and networking in multiplayer games to game software construction, design, and interactive storytelling.Tomi 'BGT' Suovuo focuses on the virtual barrier in mediated interaction, particularly between multiple users. He has taught Principles of Interaction Design for four years.Natasha Skult is an active member of the Finnish and international game developers community as the Chairperson of IGDA and founder of Hive - Turku Game Hub.Petter Skult, PhD, obtained his doctorate in 2019 in English language and literature from Åbo Akademi University. He is a game designer and writer.
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