Towards Accessible Authoring Tools for Interactive Storytelling

Spierling, Ulrike; Weiß, Sebastian; Müller, Wolfgang

doi:10.1007/11944577_17

Cited by 38 publications

(22 citation statements)

References 9 publications

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“…By controlling the avatar, the players follow the Artist's footsteps through time into the echoes and images of the past, and become themselves a figure out of time, a displaced presence that does not belong but lingers on nonetheless, just like the Artist, who himself is but a ghost of the person he once was, haunting the ruin of the house. In the case of interactive storytelling, the audience will expect to influence the storytelling-in games the users "need to experience agency within a dramatic entity," and it is that agency which changes their role from "members of the audience" to "participants" (Spierling 2005). In Layers Of Fear the players-like in all other games-have agency, but their role is not as pronounced as in other game genres (even other walking simulators), as they are first and foremost witnesses of things past.…”

Section: The Hauntological Character Of the Game's Indexical Storytelmentioning

confidence: 99%

Walking through the Past: The Mechanics and Player Experience of Haunting, Obsession and Trauma in Layers of Fear

Marak¹

2017

THS

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Abstract. Layers of Fear, a 2016 psychological horror game by Bloober Team, is a story-oriented walking simulator. While many walking simulators focus on uncovering the past, Layers of Fear centres on the experience of being haunted by the past. The gameplay narrates a tragic story and the complex relation of the protagonist with his past from which he cannot escape: his fear, his obsession and the endless cycle of his madness. Most importantly, this experience is not constructed in the game by providing the players with journal entries or letters to read, but by allowing them to literally walk through the past, among material representations of memories and emotions, as the house itself shifts through various layers and moments of time both before and after the tragic events that haunt the protagonist. This paper focuses on the unique delivery of experiencing past events used in Layers of Fear, as well as the concept of haunting, trauma and obsession central to both the game and gameplay.

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Section: The Hauntological Character Of the Game's Indexical Storytelmentioning

confidence: 99%

Walking through the Past: The Mechanics and Player Experience of Haunting, Obsession and Trauma in Layers of Fear

Marak¹

2017

THS

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“…Other works have designed authoring and media representation tools for the development of interactive media [21,25,26], or tag-based systems that allow tagged parts of different videos to be automatically stitched together into a single playback sequence [16].…”

Section: Related Workmentioning

confidence: 99%

Quality-adaptive Prefetching for Interactive Branched Video using HTTP-based Adaptive Streaming

Krishnamoorthi

Carlsson

Eager

et al. 2014

Proceedings of the 22nd ACM International Conference on Multimedia

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Interactive branched video that allows users to select their own paths through the video, provides creative content designers with great personalization opportunities; however, such video also introduces significant new challenges for the system developer. For example, without careful prefetching and buffer management, the use of multiple alternative playback paths can easily result in playback interruptions. In this paper, we present a full implementation of an interactive branched video player using HTTP-based Adaptive Streaming (HAS) that provides seamless playback even when the users defer their branch path choices to the last possible moment. Our design includes optimized prefetching policies that we derive under a simple optimization framework, effective buffer management of prefetched data, and the use of parallel TCP connections to achieve efficient buffer workahead. Through performance evaluation under a wide range of scenarios, we show that our optimized policies can effectively prefetch data of carefully selected qualities along multiple alternative paths such as to ensure seamless playback, offering users a pleasant viewing experience without playback interruptions.

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“…Many current digital storytelling authoring systems make use of this emergent narrative approach, based on virtual agents. These include the Scenejo system [137], which is mainly focused on configuring conversational agents, approaches using rehearsals for demonstrating the envisioned story to virtual characters [82,5], or authoring during the playing experience [146].…”

Section: Adaptive Storytellingmentioning

confidence: 99%

“…The Scenejo [137] authoring system is an example for an authoring tool supporting the emergent character-based approach of storytelling introduced in section 2.2.2. Here, authors model the narrative application mainly by configuring dialogues, which is realized on several layers.…”

Section: Interactive Storytelling Authoring Toolsmentioning

confidence: 99%

Authoring of adaptive single-player educational games

Mehm¹

2013

SIGMultimedia Rec.

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Towards Accessible Authoring Tools for Interactive Storytelling

Cited by 38 publications

References 9 publications

Walking through the Past: The Mechanics and Player Experience of Haunting, Obsession and Trauma in Layers of Fear

Walking through the Past: The Mechanics and Player Experience of Haunting, Obsession and Trauma in Layers of Fear

Quality-adaptive Prefetching for Interactive Branched Video using HTTP-based Adaptive Streaming

Authoring of adaptive single-player educational games

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