nARratives of augmented worlds

Abstract

This paper presents an examination of augmented reality (AR) as a rising form of interactive narrative that combines computergenerated elements with reality, fictional with non-fictional objects, in the same immersive experience. Based on contemporary theory in narratology, we propose to view this blending of reality worlds as a metalepsis, a transgression of reality and fiction boundaries, and argue that authors could benefit from using existing conventions of narration to emphasize the transgressed boundaries, as is done in other media. Our contribution is three-fold, first we analyze the inherent connection between narrative, immersion, interactivity, fictionality and AR using narrative theory, and second we comparatively survey actual works in AR narratives from the past 15 years based on these elements from the theory. Lastly, we postulate a future for AR narratives through the perspective of the advancing technologies of both interactive narratives and AR.

Reciprocal Teaching Based Augmented Reality for Enhancing English Novel Reading Skills among Secondary Students

“…To encourage students read the novel more easily to understand the narrative text deeply and critically, AR serves as a guide for the students' reading since they often suffer from a lack of sensory details when they read novel the traditional way. AR provides an exploratory experience to the students so that it gives them the option of user control at the level of viewing the mix between computer-generated virtual objects and real environment (Shilkort, Montfort, & Maes, 2014). It visualizes the invisible concepts, events and abstract concepts (Akçayır, & Akçayır, 2017).…”

A taxonomy of handheld augmented reality applications

“…Olsson and Salo (2012) (Rohmer, Buschel, Dachselt & Grosch, 2014), reconstruction and fusion (Foxlin, Calloway & Zhang, 2014), tracking (Zheng, Schmalstieg & Welch, 2014) and user interfaces (Piumsomboon et al, 2014), are clearly needed. However, papers focusing on human factors, theory, and evaluation (Marzo, Bossavit & Hachet, 2014;Shilkrot, Montfort & Maes, 2014) have recently been called for and included in proceedings at ISMAR.…”

Scheduling Live Interactive Narratives with Mixed-Integer Linear Programming

“…The holy grail of AI research in interactive storytelling (Louchart and Aylett 2004;Roberts and Isbell 2008;Arinbjarnar, Barber, and Kudenko 2009;Riedl and Bulitko 2013) is a narrative world that cannot be distinguished from the real world. Arguably, the closest form that exists today is a live interactive narrative (LIN), a role-playing game where players can interact with human actors at real-world locations, within an overarching narrative that blends both real and virtual elements (Shilkrot, Montfort, and Maes 2014). Compared to traditional live action role-playing, where plots can be created by game masters dynamically, LINs usually feature a predefined story with a small number of plot choices.…”