Connecting the dots: Quantifying the narrative experience in interactive media

Hákon Jarl Hannesson; Thorbjørn Reimann-Andersen; Paolo Burelli; Luis Emilio Bruni

doi:10.1007/978-3-319-27036-4_18

Connecting the dots: Quantifying the narrative experience in interactive media

Hákon Jarl Hannesson, Thorbjørn Reimann-Andersen, Paolo Burelli, Luis Emilio Bruni

Aalborg University

Research output: Journal Article or Conference Article in Journal › Conference article › Research › peer-review

Abstract

The design of an interactive narrative begins with the choice of a type of story. In this paper I examine the potential of three kinds of plot for active user participation: the epic plot, which focuses on the struggle of the individual to survive in a hostile world, the dramatic plot, which deals with the evolution of a network of human relations, and the epistemic plot, which is propelled by the desire to solve a mystery. I distinguish two basic types of immersionludic and narrative, the latter subdivided into spatial, temporal and emotional variants, and I discuss the ability of the three kinds of plot to generate these various forms of immersion.

Original language	English
Journal	Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics)
Pages (from-to)	189-201
Number of pages	13
ISSN	0001-0782
DOIs	https://doi.org/10.1007/978-3-319-27036-4_18
Publication status	Published - 2015

Keywords

Closure
Computer games
Emergent narrative
Experienced narrative
Immersion
Interactive narrative
Narrative research
Narrative transport
Quantifying emergent narrative

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10.1007/978-3-319-27036-4_18

http://www.mendeley.com/research/connecting-dots-quantifying-narrative-experience-interactive-media

Cite this

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title = "Connecting the dots: Quantifying the narrative experience in interactive media",

abstract = "The design of an interactive narrative begins with the choice of a type of story. In this paper I examine the potential of three kinds of plot for active user participation: the epic plot, which focuses on the struggle of the individual to survive in a hostile world, the dramatic plot, which deals with the evolution of a network of human relations, and the epistemic plot, which is propelled by the desire to solve a mystery. I distinguish two basic types of immersionludic and narrative, the latter subdivided into spatial, temporal and emotional variants, and I discuss the ability of the three kinds of plot to generate these various forms of immersion.",

keywords = "Closure, Computer games, Emergent narrative, Experienced narrative, Immersion, Interactive narrative, Narrative research, Narrative transport, Quantifying emergent narrative, Closure, Computer games, Emergent narrative, Experienced narrative, Immersion, Interactive narrative, Narrative research, Narrative transport, Quantifying emergent narrative",

author = "Hannesson, {H{\'a}kon Jarl} and Thorbj{\o}rn Reimann-Andersen and Paolo Burelli and Bruni, {Luis Emilio}",

year = "2015",

doi = "10.1007/978-3-319-27036-4_18",

language = "English",

pages = "189--201",

journal = "Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics)",

issn = "0001-0782",

publisher = "Association for Computing Machinery",

}

Connecting the dots: Quantifying the narrative experience in interactive media. / Hannesson, Hákon Jarl; Reimann-Andersen, Thorbjørn; Burelli, Paolo et al.
In: Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics), 2015, p. 189-201.

Research output: Journal Article or Conference Article in Journal › Conference article › Research › peer-review

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T1 - Connecting the dots: Quantifying the narrative experience in interactive media

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AU - Burelli, Paolo

AU - Bruni, Luis Emilio

PY - 2015

Y1 - 2015

N2 - The design of an interactive narrative begins with the choice of a type of story. In this paper I examine the potential of three kinds of plot for active user participation: the epic plot, which focuses on the struggle of the individual to survive in a hostile world, the dramatic plot, which deals with the evolution of a network of human relations, and the epistemic plot, which is propelled by the desire to solve a mystery. I distinguish two basic types of immersionludic and narrative, the latter subdivided into spatial, temporal and emotional variants, and I discuss the ability of the three kinds of plot to generate these various forms of immersion.

AB - The design of an interactive narrative begins with the choice of a type of story. In this paper I examine the potential of three kinds of plot for active user participation: the epic plot, which focuses on the struggle of the individual to survive in a hostile world, the dramatic plot, which deals with the evolution of a network of human relations, and the epistemic plot, which is propelled by the desire to solve a mystery. I distinguish two basic types of immersionludic and narrative, the latter subdivided into spatial, temporal and emotional variants, and I discuss the ability of the three kinds of plot to generate these various forms of immersion.

KW - Closure

KW - Computer games

KW - Emergent narrative

KW - Experienced narrative

KW - Immersion

KW - Interactive narrative

KW - Narrative research

KW - Narrative transport

KW - Quantifying emergent narrative

KW - Closure

KW - Computer games

KW - Emergent narrative

KW - Experienced narrative

KW - Immersion

KW - Interactive narrative

KW - Narrative research

KW - Narrative transport

KW - Quantifying emergent narrative

U2 - 10.1007/978-3-319-27036-4_18

DO - 10.1007/978-3-319-27036-4_18

M3 - Conference article

C2 - 4520227

SN - 0001-0782

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JO - Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics)

JF - Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics)

ER -

Connecting the dots: Quantifying the narrative experience in interactive media

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Keywords

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