Interactive Digital Storytelling:Synthesizing Storytelling, Training, and Video Game Design Theory

Bill WatsonIndiana University – Purdue University Indianapolis

Stories for Training

• 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?

– 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

competencies- linear)• 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):– 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

ReferencesAdams, 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.