A Case Study in the Design of Interactive Narrative: The Subversion of the Interface

Abstract

There is a potential conflict in the design of interactive narratives. The exercise of interaction in digital environments, including games, may interfere with the experience of story. The article uses the interactive CD-ROM CEREMONY OF INNOCENCE as a case study in the resolution of this potential conflict. It frames the design of this interactive narrative as the reconciliation of two independent design domains: the design of narrative and interactive design. Narrative design seeks a state of immersive surrender to the work. In contrast, interaction privileges choice and its consequences according to the logic of the interactive world. CEREMONY OF INNOCENCE uses two tactics to overcome this disjuncture. The first is the broad infusion of narrative sensibilities in the detailed design of the work's subsidiary craft (sound, graphics, moving images, and text). The second tactic is to suborn certain design specifics of the interactive interface to the goals of narrative design.In 1994, one of the authors organized a series of discussions with Vancouver filmmakers about the creative possibilities to be found in the emerging interactive form. 1 He asked each filmmaker to play with current examples of story-based interactive CDROMs (including MYST, THE SEVENTH GUEST, UNDER A KILLING MOON, and FREAK SHOW). Afterward, he and his colleagues explored their reactions to these works. The filmmakers had many observations about creative possibilities for this interactive medium. However, most felt that there was a basic contradiction between a state of narrative immersion (the classic suspension of disbelief) and the process of interaction.Interactive narrative has progressed a long way from those earlier experiences. However, the relationship between interaction and narrative immersion is still problematic and not just for those in the traditional media. The video game industry has made the incorporation of narrative sensibilities a high priority, yet thoughtful members of the gaming community lament that we have yet to find a video game that can make us cry (Barwood, 2000).

Toward a Taxonomy Linking Game Attributes to Learning

“…Similarly, Immersion includes the acceptance of sensory stimuli and game assets as constituting something the player will accept as part of a contiguous system instead of disparate elements of an artificial game task. Unless carefully designed, game interaction can actually provide a hindrance to Immersion (Bizzocchi & Woodbury, 2003), as dissonant or distracting game elements (e.g., a frustrating or poorly designed interaction) may remind players of their actual real-world state of playing a game.…”

The changing panorama of interactive storytelling: a review from locative to transmedia

“…During these years, interactive stories explore the use of traditional channels and digital formats such as CDs and DVDs. A successful example of the emerging poetics of interactive narrative (Bizzocchi & Woodbury, 2003) is the "Cerimony of Innocence" CD-ROM adaptation of Bantock's mystery novel of Griffin and Sabine, dating back 1997.…”

Once Upon a Design - Storytelling and Interactive Fiction in the Design Process

“…Indeed, as design moves towards more digital explorations (both in human interaction and in the design virtual worlds or products that communicate with one-another digitally), what seems to be the contention that design is a linear process similar to traditional narrative structures will likely evolve alongside non-linear narrative explorations (Bizzocchi and Woodbury, 2003;Suri and Howard, 2006). Psychoanalysis and psychology agree that memory and human experience is a linear construct.…”

“…It is through this development that one is able to recognize problems with hypertext and design. Bizzocchi and Woodbury (2003) enumerate these problems:…”

“…Furthermore, some images and other graphic representations should also be placed in the interactive story to compliment the heavy use of text. As noted by Bizzocchi and Woodbury (2003), it is important that playfulness and different levels of interaction be incorporated within the designed digital story space. The inclusion of graphics and images may also address issues that Danko et al (2006) point out in the conclusions of their study, which highlighted that not all designers are adept writers, and often feel more comfortable with visual communication to supplement this.…”