Transcript Interactive Digital Storytelling:

Interactive Digital Storytelling:
Synthesizing Storytelling, Training, and Video Game Design Theory
Bill Watson
Indiana University – Purdue University Indianapolis
Stories for Training
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Problem-based Learning
Case-based Learning
Scenario-based Learning
Narrative-based Learning
Interactive Digital Storytelling
• Primary approaches include:
– Generative computer graphics, animated storytelling for
film (Massive in LOTR films)
– Human-computer interaction (computer agency in
interactions)
– Computer game design
– Artificial intelligence (Spierling, 2005)
Video Games for Training
• Extremely popular
– Anderson and Dill (2000) report that in a survey with a sample of
227, 88% of the female, and 97% of the male college students
were video game players.
– Out-grossed box office sales in 2002
• Increasingly touted for potential for training and instruction
– (Aldrich, 2004; Foreman, Gee, Herz, Hinrichs, Prensky, and
Sawyer, 2004; Quinn, 2005)
• Motivation is the promise (flow theory)
• Support multiple learning outcomes, from behaviorism
(practice, feedback and reinforcement) to constructivism
(microworlds)
Video Games and Narrative
• How do games use narrative? Effectively?
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Myst
The Sims
Silent Hill
Halo
Tomb Raider
Madden NFL
Half-life 2
Guitar Hero
Shenmue 2
Ms. Pacman
Video Games and Narrative
• Video games utilize narrative in a variety of ways:
– Rouse
• out-of-game (cut-scenes),
• in-game (dialog, text, game setting, NPC behaviors)
• external materials (manuals, packaged materials)
– Jenkins
• evocative spaces (draw upon existing narrative competencieslinear)
• enacting stories (result from player movement- broadly defined
goals and localized incidents)
• embedded narratives (unstructured vs. pre-structured but
embedded in game space)
• emergent narratives (players define goals and create own
stories)
Narrative vs. Gameplay
• “Interactivity is almost the opposite of narrative; narrative flows
under the direction of the author, while interactivity depends on the
player for motive power.”
-Ernest Adams (1999)
• Designer vs. Player story
• High level vs. Low level narrative
• Intensive interactivity can result in forgetting the high level narrative
• Repetitive gameplay can bore some players while narrative can bore
others
• Player motivations and supported gameplay moves (Lindley, 2005):
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Bartle’s achievers, explorers, socializers, and killers
audience: moves for interaction with NPCs and reading material
performer: moves expressing predefined character roles and selection of quests
immersionist: moves deepening immersion, personalization and development
of a persona, freedom within context
Narrative vs. Gameplay
• Structures of interactive narrative (Lindley, 2005):
– Tree
– Exploratorium (linear structure allowing for exploration)
– Parallel plot structure (player can switch between
different parallel versions)
– Modulated (allows multiple choices, but access to new
interactions only possible after different parts of story
have been experienced- game levels)
– Open structure in which story elements are associated
with different physical spaces, allows exploration between
spaces (typical of early adventure games)
– Open structure with no story-arc (simulation, strategy,
MMORPGS)
Truly Interactive Storytelling
• Object-oriented stories (game objects encapsulate
their own story potential)
– At low levels, characters advance by interacting with
objects, but little impact is made to the narrative at a
higher level
– The use of plot controllers to pre-define and activate
narratives (Chris Crawford’s Erasmatron or Storytron)
Synthesis
• Start with training goals
• Define narrative and rules of context
• Consider competition, motivation and immersion
(characterization, drama, back-story, tension, etc.)
 Challenge
 Curiosity
 Fantasy
 Control (Malone & Lepper, 1987)
• Consider trainee interaction, performance,
reflection, and feedback both internal and external
to the game
In Conclusion
• Games use narrative in different ways
• Players are motivated by different types of
experiences
• Different game experiences are conducive to
different types of learning
• There is often a balance between interactivity and
narrative
• Much research is needed and for this occur, game
development needs to be made more accessible to
the everyday trainer
References
Adams, E. (1999). Three Problems for Interactive Storytellers. The Designer's Notebook Retrieved
October 21, 2006, from
http://www.gamasutra.com/features/designers_notebook/19991229.htm
Aldrich, C. (2005). Learning by doing: A comprehensive guide to simulations, computer games, and pedagogy in
e-learning and other educational experiences. San Francisco: Pfeiffer.
Anderson, C., & Dill, K. (2000). Video games and aggressive thoughts, feelings, and behavior in
the laboratory and in life. Journal of Personality and Social Psychology, 78, 772-790.
Foreman, J., Gee, J. P., Herz, J. C., Hinrichs, R., Prensky, M., & Sawyer, B. (2004). Game-Based
learning: How to delight and instruct in the 21st century. EDUCAUSE Review, 39(5), 50-66.
Jenkins, H. (2006). Game design as narrative architecture. In K. Salen & E. Zimmerman (Eds.),
The Game Design Reader (pp. 670-689). Cambridge, Massachusetts: The MIT Press.
Lindley, C. A. (2005). Story and narrative structure in computer games. In B. Bushoff (Ed.),
Developing Interactive Narrative Content: sagas_sagasnet reader. Munich: High Text.
Malone, T. W., & Lepper, M. R. (1987). Making learning fun: A taxonomy of intrinsic motivations
for learning. In E. Snow & M. J. Farr (Eds.), Aptitude, learning and instruction (Vol. Volume 3:
Cognitive and affective process analysis, pp. 223-253). Hillsdale, NJ: Lawrence Erlbaum.
Quinn, C. N. (2005). Engaging learning: Designing e-learning simulation games. San Francisco: Pfeiffer.
Rouse, R. (2005). Game Design Theory and Practice (second ed.). Plano, Texas: Wordware Publishing,
Inc.
Spierling, U. (2005). Interactive Digital Storytelling: Towards a hybrid conceptual approach. Paper presented
at the DIGRA 2005 Conference: Changing Views - Worlds in Play, Vancouver.