Interactive storytelling 9th international conference on interactive digital storytelling, ICIDS 2016

LNCS 10045 Frank Nack Andrew S Gordon (Eds.) Interactive Storytelling 9th International Conference on Interactive Digital Storytelling, ICIDS 2016 Los Angeles, CA, USA, November 15–18, 2016, Proceedings 123 Lecture Notes in Computer Science Commenced Publication in 1973 Founding and Former Series Editors: Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen Editorial Board David Hutchison Lancaster University, Lancaster, UK Takeo Kanade Carnegie Mellon University, Pittsburgh, PA, USA Josef Kittler University of Surrey, Guildford, UK Jon M Kleinberg Cornell University, Ithaca, NY, USA Friedemann Mattern ETH Zurich, Zurich, Switzerland John C Mitchell Stanford University, Stanford, CA, USA Moni Naor Weizmann Institute of Science, Rehovot, Israel C Pandu Rangan Indian Institute of Technology, Madras, India Bernhard Steffen TU Dortmund University, Dortmund, Germany Demetri Terzopoulos University of California, Los Angeles, CA, USA Doug Tygar University of California, Berkeley, CA, USA Gerhard Weikum Max Planck Institute for Informatics, Saarbrücken, Germany 10045 More information about this series at http://www.springer.com/series/7409 Frank Nack Andrew S Gordon (Eds.) • Interactive Storytelling 9th International Conference on Interactive Digital Storytelling, ICIDS 2016 Los Angeles, CA, USA, November 15–18, 2016 Proceedings 123 Editors Frank Nack University of Amsterdam Amsterdam The Netherlands Andrew S Gordon The Institute for Creative Technologies University of Southern California Los Angeles, CA USA ISSN 0302-9743 ISSN 1611-3349 (electronic) Lecture Notes in Computer Science ISBN 978-3-319-48278-1 ISBN 978-3-319-48279-8 (eBook) DOI 10.1007/978-3-319-48279-8 Library of Congress Control Number: 2016954939 LNCS Sublibrary: SL3 – Information Systems and Applications, incl Internet/Web, and HCI © Springer International Publishing AG 2016 This work is subject to copyright All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed The use of general descriptive names, registered names, trademarks, service marks, etc in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made Printed on acid-free paper This Springer imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Preface This volume contains the proceedings of ICIDS 2016: the 9th International Conference on Interactive Digital Storytelling ICIDS took place at the Institute for Creative Technologies, University of Southern California, Los Angeles, USA This year also featured a collaboration with the ninth edition of Intelligent Narrative Technologies (INT9), a related series of gatherings that holds artificial intelligence as its focus INT9 was featured at ICIDS 2016 as its own track, organized by co-chairs Chris Martens and Rogelio E Cardona-Rivera ICIDS is the premier annual venue that gathers researchers, developers, practitioners, and theorists to present and share the latest innovations, insights, and techniques in the expanding field of interactive storytelling and the technologies that support it The field regroups a highly dynamic and interdisciplinary community, in which narrative studies, computer science, interactive and immersive technologies, the arts, and creativity converge to develop new expressive forms in a myriad of domains that include artistic projects, interactive documentaries, cinematic games, serious games, assistive technologies, edutainment, pedagogy, museum science, advertising, and entertainment, to mention a few The conference has a long-standing tradition of bringing together academia, industry, designers, developers, and artists into an interdisciplinary dialogue through a mix of keynote lectures, long and short article presentations, posters, workshops, and very lively demo sessions Additionally, since 2010, ICIDS has been hosting an international art exhibition open to the general public For this edition we also introduced a new track, namely, “Brave New Ideas.” This track addresses works that explore highly innovative ideas and/or paradigm shifts in conventional theory and practice of interactive storytelling It seeks to draw attention to methods that differ from the state of the art in practice or theory and demonstrate potential for changed ways of thinking The aim is to establish a clearer roadmap as a community guideline for the development of the field The review process was extremely selective and many good papers could not be accepted for the final program Altogether, we received 88 submissions in all the categories Out of the 66 submitted full papers, the Program Committee selected only 26 submissions for presentation and publication as full papers, which corresponds to an acceptance rate of 39 % for full papers In addition, we accepted eight submissions as short papers, nine submissions as posters, and three submissions as demonstrations, including some long papers that were offered the opportunity to participate within another category The ICIDS 2016 program featured contributions from 41 different institutions in 16 different countries worldwide The conference program also hosted three invited speakers: Kevin Bruner co-founded Telltale, Inc., in 2004 to blend technology, creativity, and production processes to create a new entertainment experience and define a new business model Since its inception, Telltale has pioneered episodic gaming, becoming the first company to release games as monthly episodes Since 1990, Kevin has been creating VI Preface entertainment technology for video games, television game shows, museum installations, and more Prior to founding Telltale, Kevin applied his talents at LucasArts, working on cutting-edge projects such as the classic Grim Fandango noir adventure, and epic Star Wars titles, as well as crafting core company technology strategies Tracy Fullerton is a game designer, professor and director of the USC Games program Her research center, the Game Innovation Lab, has produced several influential independent games, including Cloud, flOw, Darfur is Dying, The Misadventures of P.B Winterbottom, The Night Journey, with artist Bill Viola, and Walden, a game Tracy is the author of – a design textbook used at game programs worldwide, and holder of the Electronic Arts Endowed Chair in Interactive Entertainment Prior to USC, she designed games for Microsoft, Sony, MTV, among others Tracy’s work has received honors including an Emmy nomination, Indiecade’s “Sublime Experience,” “Impact,” and “Trailblazer” awards, the Games for Change “Game Changer” award, and the Game Developers Choice “Ambassador” Award Janet Leahy, a graduate of UCLA’s school of film and television, spent 18 years as a comedy writer – producing, writing, and executive producing “Cheers,” “The Cosby Show,” “Roseanne,” “Grace Under Fire,” among many others Her work continued in the one-hour arena as writer/producer for “Gilmore Girls,” followed by Executive Producer of “Boston Legal,” “Life Unexpected,” and “Mad Men.” Janet has received six Emmy nominations, as well as Writers’ Guild Awards and the Peabody Award for best drama She is currently developing a half-hour comedy and one-hour drama pilot In addition to paper and poster presentations, ICIDS 2016 featured a pre-conference workshop day with four workshops: WS1: The First Workshop on Tutorials in Intelligent Narrative Technologies, organized by Chris Martens and Rogelio E Cardona-Rivera WS2: How to Rapid Prototype Your Very Own Vr Journalism Experience, organized by Marcus Bösch, Linda Rath-Wiggins, and Trey Bundy WS3: In-Depth Analysis of Interactive Digital Narrative, organized by Hartmut Koenitz, Mads Haahr, Gabriele Ferri, Tonguc Ibrahim Sezen, and Digdem Sezen WS4: Exploring New Approaches to Narrative Modeling and Authoring, organized by Fanfan Chen, Antonia Kampa, Alex Mitchell, Ulrike Spierling, Nicolas Szilas, and Steven Wingate In conjunction with the academic conference, the Art Exhibition of the 9th International Conference on Interactive Digital Storytelling was held at the USC Institute for Creative Technologies on November 15, 2016 The art exhibition featured a selection of nine artworks selected from 19 submissions by an international jury We would like to express our gratitude and sincere appreciation to all the authors included in this volume for their effort in preparing their submissions and for their participation in the conference Equally we want to heartily thank our Program Committee and our eight meta-reviewers: Marc Cavazza, Gabriele Ferri, Ben Kybartas, Vincenzo Lombardo, Paolo Petta, Charly Hargood, Jichen Zhu, and Peter A Mawhorter Thanks as well to our art exhibition jurors for their accurateness and diligence in the review process, our invited speakers for their insightful and inspirational talks, and the workshops organizers for the dynamism and creativity that they Preface VII brought into the conference A special thank goes to the ICIDS Steering Committee for granting us the opportunity to host ICIDS 2016 in Los Angeles Thanks to you all! November 2016 Frank Nack Andrew S Gordon Organization General Chair Andrew S Gordon University of Southern California, USA Program Chair Frank Nack University of Amsterdam, The Netherlands INT9 Track Co-chairs Rogelio E Cardona-Rivera Chris Martens North Carolina State University, USA North Carolina State University, USA Local Chair Rob Fuchs University of Southern California, USA Workshops Chair Reid Swanson University of Southern California, USA Communications Chair Melissa Roemmele University of Southern California, USA Art Exhibition Jury Valentina Nisi Jing Ying Chiang Kristy H.A Kang Mez Breeze Linda Kronman Andreas Zingerie University of Madeira, Portugal Independent artist Nanyang Technological University, Singapore mezbreezedesign.com kairus.org kairus.org Steering Committee Luis Bruni Gabriele Ferri Hartmut Koenitz Aalborg University, Denmark Amsterdam University of Applied Sciences, The Netherlands Hogeschool voor de Kunsten Utrecht, The Netherlands X Organization Ido Iurgel Alex Mitchell Paolo Petta Ulrike Spierling Nicolas Szilas David Thue Rhine-Waal University of Applied Sciences, Germany National University of Singapore, Singapore Austrian Research Institute for Artificial Intelligence, Austria RheinMain University of Applied Sciences, Germany University of Geneva, Switzerland Reykjavik University, Iceland Program Committee Nahum Alvarez Elisabeth Andre Ruth Aylett Julio Bahamon Alok Baikadi Udi Ben-Arie Rafael Bidarra Anne-Gwenn Bosser Luis Bruni Daniel Buzzo Beth Cardier Rogelio Cardona-Rivera Marc Cavazza Pablo Cesar Fred Charles Fanfan Chen Teun Dubbelman Micha Elsner Clara Fernandez Vara Gabriele Ferri Mark Finlayson Henrik Fog Pablo Gervás Stefan Goebel Andrew Gordon Dave Green April Grow Charlie Hargood Sarah Harmon Ian Horswill Nienke Huitenga Ichiro Ide Noam Knoller Hartmut Koenitz Shinshu University, Japan Augsburg University, Germany Heriot-Watt University, UK North Carolina State University, USA University of Pittsburgh, USA Tel Aviv University, Israel Delft University of Technology, The Netherlands Ecole Nationale d’Ingénieurs de Brest, France Aalborg University, Denmark University of the West of England, UK Sirius-Beta.com North Carolina State University, USA University of Teesside, UK Centrum Wiskunde & Informatica, The Netherlands Teesside University, UK National Dong Hwa University, Taiwan Hogeschool voor de Kunsten Utrecht, The Netherlands The Ohio State University, USA New York University, USA Amsterdam University of Applied Sciences, The Netherlands Florida International University, USA Aalborg University, Denmark Universidad Complutense de Madrid, Spain Technische Universität Darmstadt, Germany University of Southern California, USA Newcastle University, UK University of California, Santa Cruz, USA University of Southampton, UK University of California, Santa Cruz, USA Northwestern University, USA Avans University of Applied Sciences, The Netherlands Nagoya University, Japan Utrecht University, The Netherlands Hogeschool voor de Kunsten Utrecht, The Netherlands 452 P.L Sparks wherein the respondent was asked to choose between receiving hypothetical payments in the near-term or in the long-term Ultimately, 653 players (384 treatment, 269 control) were interviewed via phone A subset of respondents (n = 357) were asked more detailed questions about their experience with the game they played and a smaller sub-set (n = 70) were asked to describe in an open-response format what they did and did not like about the game Results 4.1 Player Characteristics Although respondents presented similar characteristics across the two groups on the majority of 33 independent variables compared through bivariate regression analysis, respondents in the treatment condition were more likely to be female and had slightly more children They tended to save money less frequently, were more likely to have a cash income and to have engaged in agriculture in the last season Importantly, they were also more likely to state having previously planted beans or sweet potatoes, crops specifically promoted as good options for diversification in the game Both games succeeded in reaching the target audience Eight-six percent of players were subsistence farmers, 41 % of whom had no secondary-level education Ninety percent of players chose to play in Ateso (the local language) Of the respondents asked to describe their experience (n = 357), 69 % of control game players and 79 % of Saving Game players said that they enjoyed it “very much.” From the open-ended responses the difference observed in favorability between the two games appears to be mainly due to genre and verisimilitude 4.2 Main Results Most family planning indicators showed no significant difference between the two groups However, antithetical to the intended result, playing the Saving Game—not the control—was associated with a desire for fewer additional children in bivariate analysis This difference is driven by the fact that Saving Game players tended to have slightly more children on average and was no longer significant once demographic factors were controlled for through multivariate regression Playing the Saving Game was associated with positive responses on key agricultural indicators Being exposed to the Saving Game increased the stated intention to plant beans and sweet potatoes in the upcoming season, even after controlling for previously reported planting behavior Playing the Saving Game was also associated with a positive result in product placement test Respondents in the treatment group were significantly (p < 0.01) more likely to recognize the Bankiphone brand Turning to the clearest findings from this evaluation, playing the Saving Game was strongly associated with more patient responses to the subjective time discounting measure and preferences for long-term monetary benefits over reduced benefits in the near-term Likewise, stated intention to safely store a portion of the next season’s harvest (in a granary or another storage facility located outside of the respondent’s Quasi-experimental Evaluation of an Interactive Voice 453 primary dwelling) was significantly and positively associated with playing the Saving Game After controlling for potential confounders1 through multivariate regression analysis, the discounting and safe storage outcomes remained positive and significant at the 95 % confidence level Treatment was associated with a 0.35 unit increase in the number of times the respondent chose the long-term payment option and a 12 percent increase in the intention to safely store the next season’s harvest These findings demonstrate that the treatment positively influenced psychological dispositions and specific intentions toward saving Conclusion The present research demonstrates the viability of the Wanji Games platform as an entertainment education initiative for rural, low literacy adults More broadly, it confirms the feasibility of voice-based interactive narrative for education entertainment delivered through basic mobile phones Not only did the Saving Game have a positive impact on participants in terms of learning and potential behavioral changes, it was also well received and highly enjoyable The results of this study provide support for the combined application of Social Cognitive Theory and Transportation Theory to interactive narrative for education entertainment Though transportation was not directly measured through the survey instrument, the stark differences between the two games, as well as the considerably greater desirability of the Saving Game, suggest that factors associated with transportation played an important role in the observed outcomes The verisimilitude of the Saving Game appears to be a key facilitator of both enjoyment and psychological changes experienced by players in the treatment condition Although this report provides strong evidence for the potential positive impact of Wanji Games, the research is still in a pilot phase Stating that one intends to something, such as plant beans or sweet potatoes, does not necessarily signal a change in behavior However, these responses argue for the effectiveness of in-game knowledge transfer and potential attitude change, an essential component of many development initiatives The window of time for measuring change (3 days between completing play and the interview) was likely too narrow to observe several practically important behavior changes A program in which baseline data on participants could be collected prior to exposure and in which random assignment of participants could be conducted would provide a far more rigorous assessment of causality Both for Multiple regression analysis was performed to model outcomes where a significant difference between the two groups was in evidence in bivariate analysis Controls for potentially confounding variables include differences exposed in balance checks, age, gender, level of education completed, occupation dummies (e.g whether or not the respondent is a teacher), cash income (dummy), saving frequency, amount of money currently lent out, planted beans last season (dummy), planted sweet potato last season (dummy), number of agricultural extension visits in the past year, poverty likelihood according to a proxy means test, parent headed household (dummy) and marital status 454 P.L Sparks programmatic and research interests, the application of Wanji in a setting where the population is more clearly defined in advance would be beneficial The effect of interactivity generally was not tested in this study Future research should test the interactive narrative format against an a la cart presentation of the same information At present though, it is clear from the findings of this study that Wanji is a viable product with considerable potential for both research and media campaigns References Aker, J.C., Mbiti, I.M.: Mobile phones and economic development in Africa J Econ Perspect 24(3), 207–232 (2010) Bandura, A.: Social Foundations of Thought and Action: A Social Cognitive Theory Prentice-Hall, Englewood Cliffs (1986) Bandura, A.: Social cognitive theory for personal and social change by enabling media In: Singhal, A., Co-dy, M.J., Rogers, E.M., Sabido, M (eds.) Entertainment-Education and Social Change: History, Research, and Practice Routledge, New York (2003) Bauer, M., Chytilová, J.: The impact of education on subjective discount rate in Ugandan villages Econ Devel Cult Change 58(4), 643–669 (2016) Dahlstrom, M.F.: The persuasive influence of narrative causality: psychological mechanism, strength in overcoming resistance, and persistence over time Media Psychol 15, 303–326 (2012) doi:10.1080/15213269.2012.70260 Green, M.C., Jenkins, K.M.: Interactive narratives: processes and outcomes in user-directed stories J Commun 64, 479–500 (2014) doi:10.1111/jcom.12093 Green, M.C., Brock, T.C.: The role of transportation in the persuasiveness of public narratives J Pers Soc Psychol 79(5), 701–721 (2000) doi:10.1037//0022-3514.79.5.701 GSMA: Sub-Saharan Africa Mobile Economy 2013 Technical report, GSMA Association (2013) Minischetti, E., Karim, S.F.: Connected Women Case Study HNI Madagascar: Information Via Mobile to Tackle Gender-Based Violence Case Study, GSMA Association (2015) 10 Paluck, E.L.: Reducing intergroup prejudice and conflict using the media: a field experiment in Rwanda J Pers Soc Psychol 96(3), 574–587 (2009) doi:10.1037/a0011989 11 Rogers, E.M., Vaughan, P.W., Swalehe, R.M., Rao, N., Svenkerud, P., Sood, S.: Effects of an entertainment-education radio soap opera on family planning behavior in Tanzania Stud Family Plann 30(3), 193–211 (1999) 12 Slater, M.: Entertainment education and the persuasive impact of narrative In: Green, M.C., Strange, J., Brock, T (eds.) Narrative Impact: Social and Cognitive Foundations, pp 157– 181 Taylor and Francis, New York (2002) Workshops Tutorials in Intelligent Narrative Technologies Chris Martens(B) and Rogelio E Cardona-Rivera Department of Computer Science, North Carolina State University, Raleigh, USA {crmarten,recardon}@ncsu.edu Abstract This workshop aims to afford its participants an opportunity to explore advances in the field of artificial intelligence for interactive digital storytelling We will present a diverse program that includes core research areas of intelligent narrative technologies, as well as techniques from allied disciplines that can inform research in this field Keywords: Intelligent narrative technologies · Systems · Tutorials Introduction The Tutorials in Intelligent Narrative Technologies (TINT) workshop aims to provide an opportunity for researchers and practitioners to get hands-on experience with artificial intelligence (AI) techniques relevant to interactive digital storytelling (IDS) TINT will serve as a forum for sharing tools and resources, providing a foundation to build upon each other’s work Our emphasis is on systems that people can access and use to create IDS experiences Program Interactive Narrative Planning using Sabre – This tutorial will introduce narrative planning in general, and present Sabre, an interactive narrative planning system Sabre is a successor to the Glaive narrative planner [4], which has been used to generate and adapt stories within interactive virtual environments Narrative planning systems are a variant of classical AI planning systems that seek to solve a problem commonly faced by storytellers: the problem of coordinating many agents with their own goals, and who may cooperate or compete in pursuit of those goals, while reasoning about the constraints and desired outcomes of a story The audience will walk away with knowledge of current techniques used to solve narrative planning problems, and experience using a narrative planner Modeling Story Worlds in Ceptre – This tutorial will present Ceptre, a rule specification language that enables rapid prototyping of interactive storytelling games, with unique affordances for domains involving procedural content c Springer International Publishing AG 2016 F Nack and A.S Gordon (Eds.): ICIDS 2016, LNCS 10045, pp 457–458, 2016 DOI: 10.1007/978-3-319-48279-8 458 C Martens and R.E Cardona-Rivera generation and multi-agent interactions [2] Ceptre is based on a formal logic concerned with resource usage, and it enables practitioners and researchers to design, analyze, and debug generative, multi-agent gameplay systems Ceptre includes programming idioms similar to parser interactive fiction authoring environments like Inform, but with fewer assumptions about the world (e.g movement through space with an inventory) and the ability to express mechanics commonly found in non-text-based games The audience will walk away with the ability to rapidly develop and tinker with ideas in interactive storytelling and games Tracery: generating text, art, twitterbots and more – This tutorial will present Tracery, an author-focused open source tool for writing generative grammars [1] Grammars are composed as JSON objects in a simple and readable syntax, and then recursively expanded by Tracery into a finished artifact Tracery has been intentionally designed to be lightweight and syntactically simple to encourage its use, and works as a modular system with several independently usable components, including a parseable language and visualization tool Tracery has been presented previously at ICIDS and has been used by many members of the ICIDS community The audience will walk away with a twitterbot, and the ability to make an assortment of other things (poetry, text, music) with Tracery The Talk of the Town Simulation framework – This tutorial will present Talk of the Town, an asymmetric multiplayer simulation game environment in the style of Dwarf Fortress that features character knowledge propagation as a core mechanic [3] Talk of the Town is an AI framework that supports gameplay with non-player characters (NPCs) who observe and form knowledge about the world, propagate knowledge to other characters, misremember and forget knowledge, and lie Talk of the Town will be used in this tutorial to generate (small, American) towns as settings/material for other works of interactive storytelling and story generators The audience will walk away with knowledge of how to generate their own towns, and a guided walk-through of their generated content References Compton, K., Kybartas, B., Mateas, M.: Tracery: an author-focused generative text tool In: Proceedings of the 8th International Conference on Interactive Digital Storytelling, pp 154–161 (2015) Martens, C.: Ceptre: a language for modeling generative interactive systems In: Proceedings of the 11th AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment, pp 51–57 (2015) Ryan, J.O., Summerville, A., Mateas, M., Wardrip-Fruin, N.: Toward characters who observe, tell, misremember, and lie In: Proceedings of the 2nd Experimental AI in Games Workshop at the 11th AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment, pp 56–62 (2015) Ware, S.G., Young, R.M.: Glaive: A state-space narrative planner supporting intentionality and conflict In: Proceedings of the 10th AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment, pp 80–86 (2014) How to Rapid Prototype Your Very Own VR Journalism Experience Marcus Bösch1(&), Linda Rath-Wiggins1, and Trey Bundy2 VRagments VR Studio, Berlin, Germany {marcus,linda}@vragments.com Center for Investigative Reporting, San Francisco, USA tbundy@cironline.org Abstract Introducing a rapid prototyping approach we want to scribble, sketch and play around with VR paper prototypes The concept – broadly used in the context of game design – aims for fast results and iterative development circles That enables us to come up with first results after a very short amount of time at almost no cost Keywords: Virtual reality digital storytelling Á Protoyping Á Digital storytelling Á Interactive Introduction Utilizing Virtual Reality (VR) in the context of digital journalism is a fairly new and evolving field Besides 360 degree video, VR gives you the chance to truly immerse your audience by offering individual interactive experiences It is not yet clear what kind of stories, levels of interactivity or what kind of multimedia usage will suit the new genre VR journalism best A fast, fruitful and promising way to gain knowledge here is a structured hands-on approach that utilizes prototyping techniques Description Introducing a rapid prototyping approach we want to scribble, sketch and play around with VR paper prototypes in the workshop The concept – broadly used in the context of game design – aims for fast results and iterative development circles That enables us to come up with first results after a very short amount of time at almost no cost We want to explore what kind of topics are suited and how we can start thinking, planning and designing an interactive VR Journalism experience best Besides a hands-on demonstration of rapid paper prototyping for VR we introduce a user centric design methodology © Springer International Publishing AG 2016 F Nack and A.S Gordon (Eds.): ICIDS 2016, LNCS 10045, pp 459–460, 2016 DOI: 10.1007/978-3-319-48279-8 460 M Bösch et al Goals With this workshop we want to contribute to a deeper understanding of VR journalism and the means of methodologies that help to shape future products in that emerging field At the end of the workshop, each participant has designed and presented an idea for an interactive VR journalism product These prototypes are perfectly suited for further usage and presentation in the newsroom Expected Outcome We expect participants to learn and experiment with a variety of new approaches and methods As a result, participants will • • • • Be familiar with the concepts of rapid prototyping, Learn about applied user centric design methodologies, Have enhanced knowledge of the needs and constraints of a VR experience, Attain hands-on experience in sketching and presenting a VR storyboard References How to design for VR https://backchannel.com/immersive-design-76499204d5f6#.1d2esxl2e Storyboarding in Virtual Reality https://medium.com/@vmccurley/storyboarding-in-virtualreality-67d3438a2fb1#.kglj328k8 The Secret of Rapid 3D Prototyping for AR/VR & IoT http://blog.leapmotion.com/breakscissors-secret-rapid-3d-prototyping-arvr-iot/ In-depth Analysis of Interactive Digital Narrative Hartmut Koenitz1(&), Mads Haahr2, Gabriele Ferri3, Tonguc Ibrahim Sezen4, and Digdem Sezen5 HKU University of the Arts Utrecht, Professorship Interactive Narrative Design, Lange Viestraat 2b, 3500 BM Utrecht, Netherlands Hartmut.koenitz@hku.nl School of Computer Science and Statistics, Trinity College, Dublin 2, Ireland Mads.Haahr@cs.tcd.ie Amsterdam University of Applied Sciences, Lectoraat in Play & Civic Media, Wibautstraat 2-4, 1091GM Amsterdam, Netherlands g.ferri@hva.nl Faculty of Communications, Istanbul Bilgi University, SantralIstanbul, Kazim Karabekir Cad No: 2/13, 34060 Eyup – Istanbul, Turkey tonguc.sezen@bilgi.edu.tr Faculty of Communications, Istanbul University, Kaptani Derya Ibrahim Pasa Sk., 34452 Beyazit - Istanbul, Turkey dsezen@istanbul.edu.tr Abstract Critical analysis of narrative artifacts is long established academic practice in literature, film, and theater studies However, the same is not yet true for Interactive Digital Narrative (IDN) In this field, the maker’s own perspective on their work is still dominant, a situation that is unusual in comparison to earlier narrative forms Important reasons for this state of affairs are the perceived lack of critical vocabulary and dedicated venues for IDN criticism, as well as the need to apply specific theories of IDN to properly tease out the differences between them and unilinear media In a series of prior workshops, we have developed an analytical toolset that we now want to put to use for the detailed analysis of Firewatch, a prominent IDN artifact Keywords: Interactive digital narrative Narrative analysis Á Narrative categories Á Interactive digital storytelling Á Introduction Critical analysis of narrative artifacts by third parties is long established academic practice in literature, film, and theater studies However, the same is not yet true for Interactive Digital Narrative (IDN) In this field, the maker’s own perspective on his own work and the terminology he chooses to use is rarely challenged, a situation that is unusual in comparison to earlier art forms There might be several explanations for this state of affairs One is the perceived lack of critical vocabulary Also, few venues and © Springer International Publishing AG 2016 F Nack and A.S Gordon (Eds.): ICIDS 2016, LNCS 10045, pp 461–463, 2016 DOI: 10.1007/978-3-319-48279-8 462 H Koenitz et al opportunities for critical analyses of IDN artifacts exist Finally, the complexity of IDNs makes specific knowledge a prerequisite for IDN criticism In a series of prior workshops, we have developed an analytical toolset we now want to put to use for the detailed analysis of a prominent IDN artifact, Campo Santo’s Firewatch [3] We engage in this discussion through an ongoing multidisciplinary research effort to develop categories and vocabulary for achieving an improved analytical understanding of IDN [1, 2] We argue that turning to concrete exemplars is a highly effective way to further develop new analytical terminology and critical perspectives Detailed Analysis of Firewatch Firewatch is a critically acclaimed interactive digital narrative by San Francisco-based Campo Santo In Firewatch, the interactor is in the role of a desperate man, who has taken on a job in a remote location – specifically as a firewatcher in an American national park – in order to get away from the sorrows in his life At the firewatch tower, his only direct human contact is via a walkie-talkie, which connects him to his supervisor in the next tower During his stay, strange happenings help the two characters to connect and form a bond In the end, both characters have to be evacuated while a large wildfire consumes the forests around them Firewatch is an exemplar of a masterfully designed narrative experience that invites deeper analysis How does the interactor get ‘drawn into the action?’ How does the relationship develop between player character and the NPC of the supervisor? What narrative design principles have the creators applied? Some tentative answers to these questions might include “scripting the interactor” in the multimodal and multi-temporal introduction sequence and the frequent use of dramatic compression Workshop Format The half-day workshop kicks off with a short overview of the work and existing specific vocabulary and analytical tools A Research-through-Workshop (RtW) approach (thematic introductions, brief directed discussions, collaborative sketching and reasoned comparisons), developed in the organizers’ previous workshops, will be employed to produce insights through collective brainstorming at the conference The process places emphasis on informal discussion, is programmatically open-ended, and will produce raw data, which will be accessible to the research community on the Games & Narrative website [4] References Koenitz, H., Ferri, G., Haahr, M., Sezen, D., Sezen, T.I.: Interactive Digital Narrative: History, Theory, and Practice Routledge, New York (2015) In-depth Analysis of Interactive Digital Narrative 463 Koenitz, H., Haahr, M., Ferri, G., Sezen, T.I., Sezen, D.: Mapping the evolving space of interactive digital narrative - from artifacts to categorizations In: Koenitz, H., Sezen, T.I., Ferri, G., Haahr, M., Sezen, D., C̨atak, G (eds.) ICIDS 2013 LNCS, vol 8230, pp 55–60 Springer, Heidelberg (2013) doi:10.1007/978-3-319-02756-2_6 Campo Santo: Firewatch [video game] (2016) http://www.firewatchgame.com/ http://gamesandnarrative.net Exploring New Approaches to Narrative Modeling and Authoring Fanfan Chen1, Antonia Kampa2, Alex Mitchell3(&), Ulrike Spierling2, Nicolas Szilas4, and Steven Wingate5 Department of English, Research Centre for Digital Games and Narrative, Design, National Dong Hwa University, Shoufeng Township, Taiwan ffchen@mail.ndhu.edu.tw Hochschule RheinMain, University of Applied Sciences, Munich, Germany {antonia.kampa,ulrike.spierling}@hs-rm.de Department of Communications and New Media, National University of Singapore, Singapore, Singapore alexm@nus.edu.sg TECFA, FPSE, University of Geneva, Geneva, Switzerland Nicolas.Szilas@unige.ch Department of English, South Dakota State University, Brookings, USA steven.wingate@sdstate.edu Abstract Despite a long tradition of interactive storytelling (IS) researchers drawing inspiration from narratology, and recent interest by narratologists in interactive storytelling, there is still a gap between the two fields Even when IS researchers make use of narrative models, it is not clear how authors use these models This workshop brings together narratologists, developers of IS authoring systems, and creative practitioners to share their experiences, and prototype new approaches to authoring, grounded both in the needs of authors, and in recent approaches to narratology and narrative modeling Keywords: Interactive storytelling Authoring Á Narrative models Á Narratology Á The Gap Between Narrative Models and Authoring There has long been a tradition of interactive storytelling researchers drawing inspiration from narratology for approaches to modeling interactive stories Despite this tendency for interactive storytelling researchers to make reference to narratological models, there has historically been a lack of interaction between the disciplines of AI/interactive storytelling and narratology Although this is slowly starting to change, there is a need for more discussion and interaction between AI/interactive storytelling and narratology This includes a need for a broader exposure to and use of narrative models, beyond the specific models often used in interactive storytelling There is also a need for awareness of more recent, innovative approaches to narratology, such as possible worlds theory and unnatural narratology © Springer International Publishing AG 2016 F Nack and A.S Gordon (Eds.): ICIDS 2016, LNCS 10045, pp 464–465, 2016 DOI: 10.1007/978-3-319-48279-8 Exploring New Approaches to Narrative Modeling and Authoring 465 In addition, there is a need for more consideration of the impact of the design of authoring tools and the representation of these underlying models on the authoring process, and more involvement of authors in the process of designing these tools and representations Unlike an author of a non-interactive story, the author of an interactive story often needs to be conscious of the underlying narrative model, due to the technical demands that result from the authoring process This requires some way of representing the underlying model to the author, in a way that makes sense from a storytelling perspective, in the form of an authoring tool Such an explicit representation of the model can both afford and constrain particular approaches to storytelling with a given model as represented in a particular tool Both tool designers and narrative theorists would benefit from taking this into consideration These issues are particularly important now that areas such as location-based and transmedia storytelling, augmented reality, and virtual reality are growing in popularity and are being picked up by the mainstream entertainment industry, often with little consideration for the ways that these new forms of storytelling impact both the stories that can be told, and the ways that these approaches to storytelling can inform and impact our theoretical understanding of narrative There has also been an increase in the development of interactive stories within the hobbyist community, often using tools such as Twine that have little or no incorporation of more complex models This in itself raises interesting questions, such as whether using simple, accessible tools that not embody any particular model (the equivalent of pen and paper for interactive storytelling) could enable more authors to create interactive stories, or whether the use of complex computational models is more appropriate? If the answer is the latter, then how to empower authors to write the stories they want using these complex models? Or should authors be empowered to create their own approaches to modeling interactive stories, and if so, how can these models be implemented in authoring tools? A key concern with this last approach is how to enable this type of authoring, given the technical demands involved in both conceptualizing and implementing underlying models in an authoring tool Structure of the Workshop This full-day workshop involves two parts The first part involves informal sharing of experiences by authors, tool designers, and technologists regarding narrative models, approaches to authoring interactive stories, and the design and use of interactive storytelling authoring tools The second part of the workshop consists of small groups brainstorming and prototyping new approaches to authoring based on narrative models and approaches to representation and authoring discussed during the first half of the workshop Participants are encouraged to submit position papers and/or examples of authoring tools or creative works for distribution to other participants proper to the workshop These form the basis for the presentations during the first part of the workshop Outcomes of the workshop include new insights and inspirations for narratologically-grounded approaches to authoring and interactive storytelling, and (ideally) ideas for new collaborative projects between participants Author Index Albert, Giacomo 285, 415 Anstey, Josephine 441 Árnason, Ragnar Adolf 258 Arsenault, Dominic 317 Harland, James 209 Harrison, Brent 73 Bae, Byung-Chull 399 Bahamón, Julio César 123 Bala, Paulo 3, 351, 445 Battad, Zev 247 Berry, Marsha 209 Bouchardon, Serge 411 Bowden, Kevin K 12 Bösch, Marcus 459 Bundy, Trey 459 Kampa, Antonia 464 Kapadia, Mubbasir 184 Kleinman, Erica 363 Knoller, Noam 51 Koenitz, Hartmut 51, 407, 461 Cardona-Rivera, Rogelio E 168, 457 Carlson, Craig 247 Carnicke, Sharon Marie 156 Carstensdottir, Elin 156 Chaudhari, Charu 403 Chen, Fanfan 464 Cheong, Yun-Gyung 399 Daiute, Colette 407 Damiano, Rossana 285, 415 Di Maggio, Jessica 433 Dionisio, Mara 3, 351, 445 Dubbelman, Teun 39, 51 El-Nasr, Magy Seif 156 Estupiñán, Sergio 336 Falco, Federica dal 433 Farrell, Rachelyn 136, 147 Feng, Dan 156 Ferri, Gabriele 461 Fisher, Joshua A 298 Fox Tree, Jean E 12 Fox, Valerie 363 Jalbert, Joseph 25 Larsen, Bjarke Alexander 61 Laurent, Mélody 411 Lessard, Jonathan 317 Lester, James 270 Lin, Grace I 12 Lombardo, Vincenzo 285, 415 Lopez, Luis 428 Lourdeaux, Domitile 411 Maiga, Guido M 184 Malliaraki, Eirini 433 Marino, Mark C 309 Marsella, Stacy 156 Martens, Chris 168, 457 Martin, Lara J 73 Massimetti, Manlio 433 Mateas, Michael 108, 221, 388 Mazeika, Jo 176 Meyer, Sylke Rene 325 Millard, David E 419 Mitchell, Alex 375, 423, 464 Mott, Bradford 270 Neo, Tiffany 375 Nisi, Valentina 3, 351, 445 Nocentini, Maria Giulia 433 Nunes, Nuno 3, 351, 445 Goicoechea, María 309 Gross, Markus 184 Pizzo, Antonio 285, 415 Poulakos, Steven 184 Purdy, Christopher 197 Haahr, Mads 461 Hargood, Charlie 419 Rank, Stefan 25 Rath-Wiggins, Linda 459 468 Author Index Reed, Lena I 12 Richle, Urs 336 Rickman, Jordan 85 Riedl, Mark O 73, 197 Rivera-Villicana, Jessica 209 Robertson, Scott 136 Roth, Christian 51 Rouse, Rebecca 97 Rowe, Jonathan 270 Ryan, James 108, 221, 234 Samuel, Ben 108, 388 Schiffel, Stephan 258 Schoenau-Fog, Henrik 61 Seither, Ethan 221 Seo, Gapyuel 399 Sezen, Digdem 461 Sezen, Tonguc Ibrahim 461 Si, Mei 247 Sparks, Paul L 449 Spierling, Ulrike 464 Stefnisson, Ingibergur Sindri 258 Steinarsson, Birgir 258 Summerville, Adam J 108 Sumner, Robert W 184 Swanson, Reid 234 Szilas, Nicolas 336, 411, 464 Tanenbaum, Joshua 85, 403 Terzulli, Carmi 285, 415 Testa, Angela 433 Thue, David 258 Time’s Up 445 Tomai, Emmett 428 Vassos, Stavros 433 Walker, Marilyn A 12 Wang, Pengcheng 270 Wardrip-Fruin, Noah 108, 221, 388 Ware, Stephen G 136, 147 Wingate, Steven 464 Young, R Michael 123 Zambetta, Fabio 209 Zhu, Jichen 363 Zünd, Fabio 184 ... 030 2-9 743 ISSN 161 1-3 349 (electronic) Lecture Notes in Computer Science ISBN 97 8-3 -3 1 9-4 827 8-1 ISBN 97 8-3 -3 1 9-4 827 9-8 (eBook) DOI 10.1007/97 8-3 -3 1 9-4 827 9-8 Library of Congress Control Number: 20169 54939... information about this series at http://www.springer.com/series/7409 Frank Nack Andrew S Gordon (Eds.) • Interactive Storytelling 9th International Conference on Interactive Digital Storytelling, ICIDS. .. conjunction with the academic conference, the Art Exhibition of the 9th International Conference on Interactive Digital Storytelling was held at the USC Institute for Creative Technologies on