interactive storytelling

Digital children’s literature is a relatively recently established field of research that has been seeking for its theoretical base and defining its position and scope. Its major attention so far has been on the narrative app, a new form of children’s literature displayed on a touchscreen computational device.

The narrative app came into being around 2010, and immediately attracted the attention of the academics. So far, various studies have been conducted to explore its educational potential, but very few have investigated the app for what it is in its own right. To bridge the gap, this study has explored the nature of the narrative app and the essential principles of its narrative strategies.

As the subject of this study concerns a variety of disciplines, this research has been conducted in an extremely interdisciplinary way in order to develop a thorough understanding of the narrative app. In general, it has consulted scholarship in children’s literature (picturebook studies in particular), narratology, computer science, game studies, social semiotics, film studies, media studies, communication studies, electronic literature and game design.

With this interdisciplinary approach, this study has attempted to define the subject of the study, identify some tendencies in its development, and most importantly, develop an original theory of storytelling and a narrative map that may be able to explain the intrinsic methods used in the narrative app storytelling as well as other digital and non-digital storytelling. The findings of this study seem to suggest that the narrative app does not display any essential differences from the codex and other forms of literature in terms of its narrative strategies, but it appears to have great potential to truly innovate storytelling.

It is suggested that this study may provide an effective theoretical scope and methodology for the study of the field of digital children’s literature, which may offer the potential to strengthen this field of research. The theoretical framework constructed by this study may be applicable to some educational approaches to the narrative app, and may also be useful for teaching new literacies.

Chris Crawford walks through Deikto, an interactive storytelling language that "reduce[s] artistic fundamentals to even smaller fundamentals, those of the computer: addition, subtraction, multiplication, and division."

The source is the essay-review on www.electronicbookreview.com written by Chris Crawford

How can a convincing interactive character, with apparent psychological depth, be modelled in a playable narrative that adapts to a reader’s choice? This is the central question of my practice-based research that I address through the authoring (in both natural language and computer code) of an interactive text-based psychological thriller Stitched Up.

Narratives “by their nature are riddled with gaps” and characters are “some of narrative’s most challenging gaps” (Abbott 2008), yet filling in these gaps can be an enthralling source of readerly pleasure. On the other hand, flat characters “seem to exist on the surface of the story, along with objects and machines. There are no mysterious gaps to fill since what you see is what you get” (Abbott 2008). The majority of simulated characters in video games and interactive adventures tend to be more flat than round probably because, as Montfort (2007) has argued, a flat character can still be compelling and meaningful due to the nature of simulation, especially when combined with narration. Nevertheless, I aim to create round simulated characters in Stitched Up. These individuals in the storyworld will be compelling precisely because they are complex and undergo development as a result of reader–player interaction. In my playable psychological thriller, the readerly process of filling in the characters’ “mysterious gaps” is the core gameplay loop.

Stitched Up is based around the idea of a character as a “black box”. An observer or external entity can only infer what is inside a black box from its inputs and outputs. Interaction between two human beings could be viewed similarly. One person can only infer what the other one is thinking and feeling from their outputs, from their behaviour or what they say.

Since an interactive character must be constructed in code, I am researching how the properties and processes of programming in JavaScript can be used as functional metaphors to represent the psychological make-up of fictional characters and their dynamic interpersonal relationships. In JavaScript, as in other programming languages, encapsulation (the technical term for the black box) is an important strategy for organising complex code into modules (and/or functions), whereby internal code is hidden from external objects so that they can interact with each other safely and effectively via an Application Programming Interface (API). In this paper, I will discuss how I am repurposing the modularity of such JavaScript design patterns to dynamically model the internal mental states of my interactive fictional characters – their emotions, memories, moral values, opinions, etc. – and how this affects the process of creatively writing characters in natural language. Overall, this entails developing a modular form of character design where these attributes are discrete elements that can be amalgamated and delivered in multiple combinations yet still offer an individuated, meaningful encounter with a person in a storyworld.

(source: ELO 2015 Conference Catalog)