The Experience of Interactive Storytelling: Comparing “Fahrenheit” with “Façade”

Roth, Christian; Klimmt, Christoph; Vermeulen, Ivar; Vorderer, Peter

doi:10.1007/978-3-642-24500-8_2

Cited by 19 publications

(12 citation statements)

References 8 publications

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“…I have argued previously that the act of reading hyper-literature can be enjoyable in many ways. But I also agreed with the sceptics insofar as I found in 2006 and 2010 that the experience of highly non-linear narrative progress, combined with user-unfriendly interfaces and disruptive interactivity, could break the desirable balance of effort and reward, a balance that leads to flow, essential to reading pleasure (Csikszentmihalyi, 1975, 2002; Klimmt et al, 2012; Nell, 1988; Roth et al, 2011). In this study, I investigate whether more recent hyperactive narratives, with all their multimedia enticements, still present these challenges to readers.…”

Section: Introductionsupporting

confidence: 54%

Further on down the digital road: Narrative design and reading pleasure in five New Media Writing Prize narratives

Pope

2017

Convergence

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In 2006 and 2010, I published papers in Convergence, which analysed readers’ responses to several interactive narratives: From this research, I formed a set of ‘assessment’ criteria for such narratives, intended to be of use to writers, academics and teachers, looking for ways to understand how readers might react to the very new and changing forms of digital storytelling, which continue to surprise, delight and puzzle readers. Despite huge technical advances, and although some recent examples are doing well commercially, digital interactive narrative remains largely unknown to the general reading public (who nonetheless love their novels, films and games). This article reviews a very specific set of interactive narratives – those which have been shortlisted for the international New Media Writing Prize – against the criteria I established in the 2010 paper. These are cutting edge, exemplar works, which one might suppose demonstrate the best of everything that new-media storytelling can offer. I revisit my criteria in the light of technical and creative developments over the past 5 years, using the responses of volunteer readers to aid my own evaluation of the pieces under discussion. Overall, I argue that many of the issues I previously found to be a barrier to readers have been overcome, but that there are still problems for readers, which writers/developers need to consider.

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Section: Introductionsupporting

confidence: 54%

Further on down the digital road: Narrative design and reading pleasure in five New Media Writing Prize narratives

Pope

2017

Convergence

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“…Note that Flow is also correlated with the Positive emotional state (.535). Note also that the scores for Flow and Positive emotional state are, for the first group 2.81 and 3.23 respectively, in a 5-point Likert scale (1)(2)(3)(4)(5), which correspond to rather high values (see [15] for comparisons with other systems tested with the same scales).…”

Section: Results and Interpretation Of Questionnaires-indicators Corrmentioning

confidence: 98%

Objective Metrics for Interactive Narrative

Szilas

Ilea

2014

Interactive Storytelling

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Abstract. This paper describes, implements and assesses a series of user-log indicators for automatic interactive narrative evaluation. The indicators include length and duration, diversity, renewal, choice range, choice frequency, and choice variety. Based on a laboratory experiment with players, a significant positive correlation has been observed between two indicators and some aspects of the interactive narrative experience measured by validated scales based on questionnaires.

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“…We describe a method to verify narrative design conventions using empirical methods. Instead of the trial-and-error process of old, our method evaluates user reaction to A/B prototypes using an established toolkit measuring immersion, agency and transformation through a granular set of 13 psychological dimensions (Roth and Koenitz, 2016;Roth and Vermeulen, 2013;Roth, Klimmt, Vermeulen, and Vorderer, 2011;Roth, Vorderer, Klimmt, and Vermeulen, 2010).…”

Section: Iintroductionmentioning

confidence: 99%

Interactive Narrative Design beyond the Secret Art Status: A Method to Verify Design Conventions for Interactive Narrative

Koenitz

Roth

Dubbelman

et al. 2018

MATLIT

Self Cite

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In recent years, game narrative has emerged as an area for novel game concepts and as a strategy to distinguish a particular title. However, innovation in this area comes primarily from indie companies and individual efforts by noted designers. There is a lack of trained specialists ready to produce interactive narrative experiences. Many existing practitioners are self-trained and often rely on intuition in their design practice. A key element missing from the effort towards a more sustained development and improved professional training is a set of design conventions that fulfill a role comparable to cinematic conventions like continuity editing or montage. Therefore, our research focuses on identifying, verifying and collecting such design strategies. We describe an empirical method to verify candidate design conventions through the evaluation of user reaction to A/B prototypes, which improves upon the trial-and-error process of old.

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The Experience of Interactive Storytelling: Comparing “Fahrenheit” with “Façade”

Cited by 19 publications

References 8 publications

Further on down the digital road: Narrative design and reading pleasure in five New Media Writing Prize narratives

Further on down the digital road: Narrative design and reading pleasure in five New Media Writing Prize narratives

Objective Metrics for Interactive Narrative

Interactive Narrative Design beyond the Secret Art Status: A Method to Verify Design Conventions for Interactive Narrative

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