lcc 6317/4720 interactive narrative lecture 2 january 13, 2005

LCC 6317/4720 Interactive Narrative

Lecture 2

LCC 6317/4720 Interactive Narrative

Lecture 2

January 13, 2005January 13, 2005

The holodeck: holy grail?The holodeck: holy grail?

• Offers maximum immersion and agencyOffers maximum immersion and agency

• But is the holodeck really the ultimate interactive But is the holodeck really the ultimate interactive narrative medium?narrative medium?

Holodeck problem 1: First vs. third personHolodeck problem 1: First vs. third person

• First-person vs. third-personFirst-person vs. third-person• In traditional story forms, we may cognitively simulate the mind of

the main character, but we remain ourselves

• But Holodeck promises a first-person experience (Do you really want to be a first-person Hamlet?)

• How do we combine first and third-person goals?

• What kinds of stories can be experienced this way?

Holodeck problem 2: Seduction vs. reflectionHolodeck problem 2: Seduction vs. reflection

• Seduction vs. reflectionSeduction vs. reflection• Does the holodeck just suck us into “easy” stories?

• Can you encourage critical reflection?

• What would it mean for Holodeck experiences to “break the fourth wall”

Drama vs. written narrative al la Laurel Drama vs. written narrative al la Laurel

"Drama is typically more intense, tightly constructed, economical and cathartic in nature.”

Enactment - tell story through action

Intensification - intensify emotion and condense time

Unity of action - all incidents related to central action

Description - tell story through description

Extensification - analysis of events; expansion of time

Episodic structure - story consists of unrelated or loosely related incidents

Drama Narrative

Return of the KingReturn of the King

Harry Potter and the Sorcerer’s StoneHarry Potter and the Sorcerer’s Stone

American BeautyAmerican Beauty

??

Taxi DriverTaxi Driver

??

TopicsTopics

• Electronic literatureElectronic literature

• Simulation vs. narrativeSimulation vs. narrative

• Story generation I: morphemes and Story generation I: morphemes and grammarsgrammars

• Story generation II: author modelingStory generation II: author modeling

• CharactersCharacters

• Multi-player worldsMulti-player worlds

• Interactive dramaInteractive drama

Multiform storyMultiform story

• The presentation of multiple, mutually exclusive, The presentation of multiple, mutually exclusive, versions of a single plotlineversions of a single plotline

• Examples: Examples: It’s a Wonderful LifeIt’s a Wonderful Life, , Groundhog DayGroundhog Day, , The The Garden of Forking PathsGarden of Forking Paths

• A strategy for “interactivizing” storiesA strategy for “interactivizing” stories• Multiformity part of the way we think – urge to move beyond single narrative

lines

• A narrative strategy within stories

Harbingers of the HolodeckHarbingers of the Holodeck

• 3D movies (but 3D movies (but interactiveinteractive?)?)

• Theme park ridesTheme park rides

• GamesGames

• HypertextHypertext

• AI-based characters and drama managementAI-based characters and drama management

Stories have strong structureStories have strong structure

• There is some global structure that organizes the There is some global structure that organizes the entire work (and the player experience of the entire work (and the player experience of the entire work)entire work)

• Effects of interaction are generally local – Effects of interaction are generally local – conflicts with global structureconflicts with global structure• One reason that interactive narrative is so hard…

• Global structures and constraints are culturally Global structures and constraints are culturally groundedgrounded

PeoplePeople

• Stories are primarily about peopleStories are primarily about people• The emotional engagement comes from people

• Counter-examplesCounter-examples• Spatial narratives…

• ?

• Games are primarily thing-based: hence their Games are primarily thing-based: hence their failure to tell stories failure to tell stories

ConflictConflict

• Conflict moves stories forwardConflict moves stories forward• Person vs. person

• Person vs. nature

• Person vs. herself (internal conflict)

• Conflict forces choiceConflict forces choice

• Games only offer violent conflict Games only offer violent conflict • Limited storytelling range

Things stories are notThings stories are not

• Chris aims these comments primarily at Chris aims these comments primarily at the game industrythe game industry

• Not spectacleNot spectacle

• Not primarily visualNot primarily visual

• Not primarily spatialNot primarily spatial

InteractivityInteractivity

• Chris’ conversational definition: a cyclic process in which Chris’ conversational definition: a cyclic process in which each agent alternately:each agent alternately:

• Listens

• Thinks

• Speaks

• Eliminates reader-response notions of interaction (calling Eliminates reader-response notions of interaction (calling traditional media objects interactive) traditional media objects interactive)

• Let’s think of examples (and counter-examples?)Let’s think of examples (and counter-examples?)

Designing interactivity requires second-person insightDesigning interactivity requires second-person insight

• Must design the piece with an eye towards audience Must design the piece with an eye towards audience perceptionperception

• Different than traditional media because there literally isn’t Different than traditional media because there literally isn’t an expression without audience participationan expression without audience participation

• The expression of a film or book exists without a reader/viewer

• This should push some post-structuralist buttons…

• Interactivity peculiarly powerful (persuasive) because an Interactivity peculiarly powerful (persuasive) because an interactive artifact can adjust itself to the playerinteractive artifact can adjust itself to the player

Factors influencing degree of interactivityFactors influencing degree of interactivity

• SpeedSpeed• The tighter the conversational loop, the more interactive

• Depth Depth • “By ‘deeper’ I mean ‘penetrating closer to what it means to be

human.’

• ChoiceChoice• Functional significance – the choices matter to you

• Perceived completeness – choices relative to what I can imagine doing

Why interactivity?Why interactivity?

• It’s a unique property of computation – only It’s a unique property of computation – only computers can deliver interactive experiencescomputers can deliver interactive experiences

• It’s the hot new thing – interactivity is what’s It’s the hot new thing – interactivity is what’s happening happening nownow (and you can get in on the (and you can get in on the ground floor)ground floor)

• Enables uniquely powerful experiences Enables uniquely powerful experiences