A Framework for Creative Teams of Non-fiction Interactive Digital Narratives

A bottom-up method for remixing narratives for virtual heritage experiences

“…For this case study, an iDoc was developed using Basaraba’s (2018) seven-phase creation framework, but many different virtual narrative experiences can be created based on the framework and remixing invention process. This paper focuses on two out of the seven phases, namely on Phase One of ‘know the audience’ (i.e.…”

“…The theoretical framework upon which the following narrative invention methodology stemmed from was based on a transdisciplinary convergence of digital rhetoric (Eyman, 2015), transmedial narratology (Ryan, 2008) and interactive narrative studies (Koenitz et al, 2013). Basaraba’s (2018) resulting seven-phase narrative creation framework, including updates to digital rhetorical theory, are: (1) know the audience, (2) define the communication goals, (3) consider the delivery medium/media, (4) invent the digital narrative system, (5) arrange the narrative(s) into a non-linear structure, (6) design the system and (7) make revisions and updates to the system and narrative as needed. To provide some additional context to Phase Four of ‘inventing’ or narrative composition – which is exemplified in this paper – it is important to consider key differences in terms of fiction and nonfiction as well as the impacts of the digital medium.…”

“…Phase One – ‘know the audience’) is a way to develop the narrative (i.e. Phase Four – narrative ‘invention’) from the bottom-up drawing from existing datasets both in digital media and print media (Basaraba, 2018). Therefore, the following methodology is detailed to show how public interests and participation in narrative development for virtual heritage experiences can be achieved using existing cultural data.…”

JUNGLE: An Interactive Visual Platform for Collaborative Creation and Consumption of Nonlinear Transmedia Stories

“…Ensemble, [17] a collaborative writing platform, presents an approach to guiding the diverse perspectives of a creative crowd by using a leader with a high-level vision for a story that articulates constraints. Basaraba proposes a framework to facilitate the collaborative authorship of non-fiction interactive digital narratives [8]. StoryMINE [28] is a platform for creating and consuming multiplayer interactive narrative experiences, in which players experience different narratives.…”

“…These planets consisted of a rich diversity of media with 439 text bits, 1033 images, 38 videos, 214 composite story bits (a combination of image and text), and 43 sequence story bits (a slide show of images signatures (i.e., relative distributions of media elements) for these planets are illustrated in Figure 6a. We cluster the 50 story worlds together into the following categories: (a) Text-centric (20), (b) Image-centric (6), (c) Video-centric (2), (d) Composite-centric (8), and (e) Mixed (14). Figure 5a provides the mean user activities for the different categories of story planets.…”