Towards a Specific Theory of Interactive Digital Narrative

Koenitz, Hartmut

doi:10.4324/9781315769189-8

Cited by 87 publications

(42 citation statements)

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“…We have seen discussion from researchers who looked at both technical and narrative aspects of immersive experiences separately [47]. Koenitz [41] also put forward a theory indicating that the viewer's participation in storytelling is also part of the narrative itself. We assume further exploration will be needed on the relationship between the viewer interaction design choices and the actual viewer experience.…”

Section: Discussionmentioning

confidence: 99%

Viewer’s Role and Viewer Interaction in Cinematic Virtual Reality

2021

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Cinematic Virtual Reality (CVR) is a form of immersive storytelling widely used to create engaging and enjoyable experiences. However, issues related to the Narrative Paradox and Fear of Missing Out (FOMO) can negatively affect the user experience. In this paper, we review the literature about designing CVR content with the consideration of the viewer’s role in the story, the target scenario, and the level of viewer interaction, all aimed to resolve these issues. Based on our explorations, we propose a “Continuum of Interactivity” to explore appropriate spaces for creating CVR experiences to archive high levels of engagement and immersion. We also discuss two properties to consider when enabling interaction in CVR, the depth of impact and the visibility. We then propose the concept framework Adaptive Playback Control (APC), a machine-mediated narrative system with implicit user interaction and backstage authorial control. We focus on “swivel-chair” 360-degree video CVR with the aim of providing a framework of mediated CVR storytelling with interactivity. We target content creators who develop engaging CVR experiences for education, entertainment, and other applications without requiring professional knowledge in VR and immersive systems design.

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Section: Discussionmentioning

confidence: 99%

Viewer’s Role and Viewer Interaction in Cinematic Virtual Reality

2021

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“…The paper aims to address an issue of the game's identity in the context of narrative interfaces and their integrity. Following the approach of Jenkins (2002), Bizzocchi (2007Bizzocchi ( , 2011 and Koenitz (2015Koenitz ( , 2018 I propose there to address said topic by attention paid to the integrity of the narrative interfaces design and their role in the presentation and experience of "the game" as particular "that game". Especially in the context of attempts to recreate specific experience (remake/revival, sequel and sibling identity), for which main example is the game Planescape Torment and its revival (Enhanced Edition) and "spiritual successor" Tides of Numenera.…”

Section: Discussionmentioning

confidence: 99%

Narrative Interfaces, Identity of The Game and The Integrity of The Interfaces

Kubiak

2020

pan

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The paper aims to address an issue of the game’s identity in the context of narrative interfaces and their integrity. Following the approach of Jenkins (2002), Bizzocchi (2007, 2011) and Koenitz (2015, 2018) I propose there to address said topic by attention paid to the integrity of the narrative interfaces design and their role in the presentation and experience of “the game” as particular “that game”. Especially in the context of attempts to recreate specific experience (remake/revival, sequel and sibling identity), for which main example is the game Planescape Torment and its revival (Enhanced Edition) and “spiritual successor” Tides of Numenera. The short study on said example, as I argue, shows that the main issue has a multilayered nature (including technology, studio politics, artistic design, license legal limitations and such), and the integrity of the interfaces, especially these which may be identified as the “core” ones, is an important part of them and seemingly small and mere changes, may break it completely. And while the storytelling may deliver literally “the same” story, a changed (or broken) integrity of narrative interface’s design cannot be restored. Creating in effect a different experience, and in essence: a different game. However, keeping said core integrity intact allows to sustain the game identity (and its experience) allowing extending existing mechanics, additional layers of gameplay etc.

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“…Os documentaristas, ou cineastas do real, ao estabelecerem no design de suas obras estratégias para explorar o potencial que esse novo dispositivo possui, passam a abordar o espaço que se abre entre a teoria e as potenciais práticas de produção e consumo dos entornos digitais imersivos. Nesse sentido, as próprias condições de imediação, hipermediação e remediação que, segundo a nomenclatura de Bolter e Grusin (2000), traz consigo o dispositivo VR, obriga aos criadores destes ambientes a uma reflexão sobre as affordances tecnológicas do meio digital (Gibson, 1977;Norman, 1988;Murray, 2012;Uricchio, 2013;Koenitz, 2015). Na procura de uma narrativa dramatúrgica que atenda à configuração da identidade do operador/ator dessa experiência imersiva, tornase imprescindível abordar questões de usabilidade relacionadas às possibilidades de visão e movimento, empatia, interação e engajamento.…”

Section: Afeição Movimento E Fluidez Na Montagem Do Pensamento Esféricounclassified

Territórios epistemológicos do Real nas imagens esféricas do dispositivo VR360°

Greciano

Zanetti

2019

DOC online

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Resumo: O presente trabalho procura desenvolver uma reflexão crítica sobre as possibilidades estéticas do documentário ao se expandir nos espaços de imersão atmosférica e interação em rede do dispositivo VR360º. Na conjuntura dessa plataforma digital se projeta um espaço de intercomunicação factual e afetivo que abre possibilidades para produzir uma assimilação transformativa do conhecimento. Palavras-chave: documentário; imagem esférica; VR360°; interface; imersão; interação; conhecimento; pensamento. Resumen: El presente trabajo intenta desarrollar una reflexión crítica sobre las posibilidades estéticas del documental al expandirse en los espacios de inmersión atmosférica e interacción en red del dispositivo VR360º. En la coyuntura de esa plataforma digital se proyecta un espacio de intercomunicación factual y afectivo que abre posibilidades para producir una asimilación transformativa del conocimiento. Palabras clave: documental; imagen esférica; VR360°; interfaz; inmersión; interacción; conocimiento; pensamiento.

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Towards a Specific Theory of Interactive Digital Narrative

Cited by 87 publications

References 1 publication

Viewer’s Role and Viewer Interaction in Cinematic Virtual Reality

Viewer’s Role and Viewer Interaction in Cinematic Virtual Reality

Narrative Interfaces, Identity of The Game and The Integrity of The Interfaces

Territórios epistemológicos do Real nas imagens esféricas do dispositivo VR360°

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