Today is the day we see all our finished work and there is some very good projects. From the blogs I've seen over the last few weeks, the work is very impressive with each game being different. There are different genres of games displayed which is good it won't make everyone's game seem repetitive.
The first game project that caught my eye was Dani's game, Battle for Cleotopia. Before playing it, I watched as others played it and I was very impressed by it. I eventually played it and felt like playing the alpha of a big triple a game. It was clear that a lot of work went into this game as there is lots of detail gone into it. There was sounds, action button to attack, moving platforms, objects that help open doors in the game, a good artistic pause menu and even enemy npcs. It was great to see this work and I hope inspires myself and others to try make something like this one day.
The Tiny Farm was created as a group project and this was another great project. Like Dani's game, its clear a lot of work went into this game and it even looks like a game that is ready to be sold. The art designs of the farm with the farmer and animals is really good. The game looks like it runs well as when questions are answered, the player is taken to the next question. Sounds are also used in this game and they go well with the game.
The game that I was interested to see most was the 1916 Rising game. The game's terrain design looks really good but unfortunately the game wasn't fully finished which is a shame cause it is an exciting project based on the 1916 Rising.
Some really good work was done and I hope everyone is happy with how they did in this module.
Wednesday, May 1, 2019
Sunday, April 7, 2019
Week 11 progress
For this week week I started work on the terrain map of my game. I feel I have fallen behind on my schedule as I planned to have the map/level design of my game finished. It can be difficult working on your own but I plan to do a lot of work on this project in the next few weeks before the final deadline.
When creating the level design based on TUD Blanchardstown, I have been using an assets pack blockout which contains block items to use for creating buildings and other objects in the game. The image below is work based on the f block building. Its not final and there is still more work to be done.
A lot of work is to be done and I hope to have everything I want for the final deadline.
When creating the level design based on TUD Blanchardstown, I have been using an assets pack blockout which contains block items to use for creating buildings and other objects in the game. The image below is work based on the f block building. Its not final and there is still more work to be done.
A lot of work is to be done and I hope to have everything I want for the final deadline.
Sunday, March 24, 2019
MD2Final GDD
I wasn't able to screen record my powerpoint as I was using the office powerpoint version which doesn't have the option of screen recording so I had to record the video on my phone.
For this week, I plan to start creating the terrain map of the game, having all the riddles I want for the game finished and continue searching tutorials to help for features in my game.
My game will be based on TUD Blanch
Monday, March 18, 2019
Game Design Document
Video of Powerpoint GDD
Introduction
For my game, I am going to create 3d world based on TUD Blanchardstown Collge with the goal being to solve as many riddles as you can before the timer runs out. It would be first person view with the controls not being hard to use.Story
A story idea for this game would that you will play as a student of the college who gotten into some trouble at college
and is forced to stay back until the college feels he/she is ready to leave. Your goal is to look and the college and solve
as many riddles as you can. If you solve a certain amount before the timer runs out, you will be free to leave the college.
For gameplay mechanics, there would movement, a button to use for scanning something in order to solve riddles,
a mechanic for zooming in and out to look at something in the distance and possibly a mechanic to help open doors.
Example of controls:
Mouse= Able to look around
S= Move Left
D= Move Right
E= Move forward
X= Move Backwards
K= Zoom-in
L= Zoom-out
Spacebar= Open door and scan for riddles
The game will have a timer that may start at 20 minutes and the player must solve as many riddles as they can
before the timer runs out.
a mechanic for zooming in and out to look at something in the distance and possibly a mechanic to help open doors.
Example of controls:
Mouse= Able to look around
S= Move Left
D= Move Right
E= Move forward
X= Move Backwards
K= Zoom-in
L= Zoom-out
Spacebar= Open door and scan for riddles
The game will have a timer that may start at 20 minutes and the player must solve as many riddles as they can
before the timer runs out.
Targeted platforms
This game will be played on a computer platform.
Target Audience
Target audience would be CDM students of TUD Blanchardstown College as this the course I study so I hope to
create riddles based on the course plus riddles on areas around the college.
Project Scope
This game will be created by one person which is me. I will be responsible for all the roles including coding,
scripts, story, creating riddles and designing the game.
scripts, story, creating riddles and designing the game.
Influences
An influence for this game idea comes from the Batman Arkham Series where in each game you encounter Batman's
arch nemesis, The Riddler who has placed riddles all over the maps in each Arkham game. The riddles are based on theworld of Batman like its characters and locations in Batman lore. For my game I would like to create riddles, based on
TUD Blanchardstown College from its buildings, rooms and lecturers to test the knowledge of students from the college.
An example of riddle I may create could be based on F036 as this is a room most CDM students use or even D028.
Heads Up Display
In the top left corner of the screen, their would be a map to display where the player is and map would tell which
building is which so it will display F block for example. In the top center of the screen their will be a timer that will
tell how much time left the player has to complete as many riddles as they can. Underneath the map, it may display
a score that starts at zero and when riddles are solved, the score goes up.
In the top left corner of the screen, their would be a map to display where the player is and map would tell which
building is which so it will display F block for example. In the top center of the screen their will be a timer that will
tell how much time left the player has to complete as many riddles as they can. Underneath the map, it may display
a score that starts at zero and when riddles are solved, the score goes up.
Level Design
I will be creating this game in Unity and the level design will try to look like TUD Blanchardstown College with each building
and some rooms.
Game Menu
previous scores and possibly a settings feature.
and objects to display inside and outside the buildings like tables, chairs and computers for inside the buildings
and outside would have trees.
Assets Needed
As of now, assets I feel I need is a buildings asset to help create the block buildings of TUD Blanchardstown Collegeand objects to display inside and outside the buildings like tables, chairs and computers for inside the buildings
and outside would have trees.
Inspiration
Sunday, February 17, 2019
Layout
Introduction
This literature review looks at structures in interactive storytelling when creating stories for media such as games.
Body
Marc Cavazza and David Pizzi review the narrative theories that have inspired interactive storytelling (IS) research and provide critical insight into how these theories can support developments. Aristotle provided a model traditional drama for its progression through climax and final resolution. It had been used for centuries until IS researcher Mateas provided an extension to the Artistotelian model. It helped provide important aesthetic properties to stories. Propp was used to stable structure in Russian folktale and helped create narrative functions.
Fred Charles, Steven J. Mead and Marc Cavazza discuss user interaction with artificial actors in the context of virtual storytelling in this paper. A prototype based on Unreal engine game was created to supports both direct “physical” intervention and the use of speech recognition to interact with the sets’ characters in a game. There is a scenario shown with a graph called Figure one to show all the possible plans. Physical user intervention is discussed can change a sub goal of a game where the player can take a different action to achieve a certain goal/objective.
Kristopher J. Blom and Steffi Beckhaus make an extension to the structures of story segments in Interactive Storytelling. Software structures that have envisioned engaging, dramatic environments rarely exist and they feel that development of structures for current VR software to enable the creation of these visions is still needed in order to move VR to its full potential. Components added is the Emotion Tracking Engine (ETE) used to keep track of the user’s expected emotional state and the Emotional Path Graph (EPG) which is a time dependent graph of what the author views as the ideal emotional experience for the user.
David Thue, Vadim Bulitko, Marcia Spetch and Eric Wasylishen present PaSSAGE (PlayerSpecific Stories via Automatically Generated Events), an interactive storytelling system that uses player modelling to automatically learn a model of the player’s preferred style of play, and then uses that model to dynamically select the content of an interactive story. They tested their hypotheses by conducting a user study consisting of 90 university students trying their game.
John Helmes, Xiang Cao, Siân E. Lindley and Abigail Sellen (2009) present the initial interface design. TellTable incorporates photography and a Microsoft Surface interactive tabletop to help stimulate imagination. They uses an iterative design process, tested with children gaining feedback stating adding more structures makes for a simpler system, which also mirrored the stages that children normally go through when telling stories.
Oliver Schneider presents an approach to new authoring methods for interactive storytelling. Today stories can be told from direct worldwide access of content and 3D visualization of content to interactive possibilities for the audience but artistic rules to organize and narrate the stories, the process of is still in the beginning stages. The approach to authoring non-linear stories is broken down into three sections which is story creation, storytelling and story receiving by the recipient. Application engines are created called the Conversation-Engine [Braun01a] which communicates with the audience, the Story-Engine [Braun01b] which narrates interactive non-linear stories, the Character-Engine which controls characters and the Scene-Engine which structures the scene model for the story. In the authoring process for storytelling, the author focuses on brainstorming to preparation and to final design.
Hartmut Koenitz proposes a process and a set of design heuristics for interactive digital narrative and looks into the scholarly perspectives on authoring and design. Perspectives on IDN design exist in different categories – high-level abstract descriptions, inclusion strategies and concrete design. The author's design work is specific to interactive narrative and as a critical reflection, inspired by critical practice and reflective design that provides vital clues for the continued development of theoretical framework.
Ilda Ladeira, Gary Marsden and Lesley Green present designing a storytelling prototype for preserving personal experience narratives. We detail the design of an interactive virtual environment (VE). They studied real-life oral storytelling ethnographically in order to observe how experienced storytellers connect with audiences and draw them into their personal stories. The aim was to learn about techniques for making personal stories engaging, dynamic and interactive for their storytelling prototype. Their prototype design was based on the ethnography findings in their research. A VE with interactive storyteller agents was created.
Bosser, A-G. (Anne-Gwenn); Cavazza, M. O. (Marc); Champagnat, R. (Ronan) (2010) explore rigorous formalisation of narrative concepts, both at the action level and at the plot level with the aim to investigate how to bridge the gap between action descriptions and narrative concepts, by considering the latter from the perspective of resource consumption and causality. They propose Linear Logic for a better description of causality than in Classical and Intuitionistic Logic. Intuitionistic Linear Logic can provide a conceptual model for nonlinear narratives, for it provides a suitable theory of action and change for narrative actions.
Dieter Grasbon and Norbert Braun don't create a model for generating stories in detail but instead hope for authors to create specific interactive scenarios for stories in full detail. They describe a different approach to interactive storytelling which deals with interactive plot at a higher level. A prototype of theirs consists of story engine, a story model and a small number of scenes. Interface and rendering modules separate the story engine from the user, making the engine independent of input and output modalities. Authors exerts direct influence on every part of the system except the story engine and user mode.
Conclusion
The above articles, show the steps we can take in creating structures for interactive storytelling. There a many theories and approaches we can interact with for creating stories for different medias.
Citation
1.Marc Cavazza, David Pizzi. Narratology for Interactive Storytelling: A Critical Introduction.
https://link.springer.com/chapter/10.1007/11944577_7
2.Fred Charles, Steven J. Mead and Marc Cavazza. User Intervention in Virtual Interactive storytelling.
https://ive.scm.tees.ac.uk/beta/data/media/laval2001.pdf
3.Kristopher J. Blom and Steffi Beckhaus. Emotional Storytelling
https://imve.informatik.uni-hamburg.de/publications/EmotionalStorytelling-VR2005-BlomBeckhaus.pdf
4.David Thue, Vadim Bulitko, Marcia Spetch and Eric Wasylishen. Interactive Storytelling: A Player Modelling Approach
http://www.aaai.org/Papers/AIIDE/2007/AIIDE07-008.pdf
5.John Helmes, Xiang Cao, Siân E. Lindley and Abigail Sellen. (2009) Developing the Story: Designing an Interactive Storytelling Application
https://www.microsoft.com/en-us/research/wp-content/uploads/2016/02/its2009_telltable.pdf
6.Oliver Schneider Storyworld Creation: Authoring for Interactive Storytelling
https://dspace5.zcu.cz/bitstream/11025/6006/1/D67.pdf
7.Hartmut Koenitz Design Approaches for Interactive Digital Narrative
https://s3.amazonaws.com/academia.edu.documents/39071749/Design_Approaches_for_Interactive_Digital_Narrative.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&Expires=1550431413&Signature=qulfKeD2rONhoF6nf%2BLTYOpbYjw%3D&response-content-disposition=inline%3B%20filename%3DDesign_Approaches_for_Interactive_Digita.pdf
8.Ilda Ladeira, Gary Marsden and Lesley Green Designing Interactive Storytelling: A Virtual Environment for Personal Experience Narratives
https://link.springer.com/content/pdf/10.1007/978-3-642-23771-3_32.pdf
9.Bosser, A-G. (Anne-Gwenn); Cavazza, M. O. (Marc); Champagnat, R. (Ronan) (2010) Linear logic for non-linear storytelling
http://tees.openrepository.com/tees/bitstream/10149/110653/2/110653.pdf
10.Dieter Grasbon, Norbert Braun A Morphological Approach to Interactive Storytelling
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.21.8572&rep=rep1&type=pdf
Image Link
This literature review looks at structures in interactive storytelling when creating stories for media such as games.
Body
Marc Cavazza and David Pizzi review the narrative theories that have inspired interactive storytelling (IS) research and provide critical insight into how these theories can support developments. Aristotle provided a model traditional drama for its progression through climax and final resolution. It had been used for centuries until IS researcher Mateas provided an extension to the Artistotelian model. It helped provide important aesthetic properties to stories. Propp was used to stable structure in Russian folktale and helped create narrative functions.
Fred Charles, Steven J. Mead and Marc Cavazza discuss user interaction with artificial actors in the context of virtual storytelling in this paper. A prototype based on Unreal engine game was created to supports both direct “physical” intervention and the use of speech recognition to interact with the sets’ characters in a game. There is a scenario shown with a graph called Figure one to show all the possible plans. Physical user intervention is discussed can change a sub goal of a game where the player can take a different action to achieve a certain goal/objective.
Kristopher J. Blom and Steffi Beckhaus make an extension to the structures of story segments in Interactive Storytelling. Software structures that have envisioned engaging, dramatic environments rarely exist and they feel that development of structures for current VR software to enable the creation of these visions is still needed in order to move VR to its full potential. Components added is the Emotion Tracking Engine (ETE) used to keep track of the user’s expected emotional state and the Emotional Path Graph (EPG) which is a time dependent graph of what the author views as the ideal emotional experience for the user.
David Thue, Vadim Bulitko, Marcia Spetch and Eric Wasylishen present PaSSAGE (PlayerSpecific Stories via Automatically Generated Events), an interactive storytelling system that uses player modelling to automatically learn a model of the player’s preferred style of play, and then uses that model to dynamically select the content of an interactive story. They tested their hypotheses by conducting a user study consisting of 90 university students trying their game.
John Helmes, Xiang Cao, Siân E. Lindley and Abigail Sellen (2009) present the initial interface design. TellTable incorporates photography and a Microsoft Surface interactive tabletop to help stimulate imagination. They uses an iterative design process, tested with children gaining feedback stating adding more structures makes for a simpler system, which also mirrored the stages that children normally go through when telling stories.
Oliver Schneider presents an approach to new authoring methods for interactive storytelling. Today stories can be told from direct worldwide access of content and 3D visualization of content to interactive possibilities for the audience but artistic rules to organize and narrate the stories, the process of is still in the beginning stages. The approach to authoring non-linear stories is broken down into three sections which is story creation, storytelling and story receiving by the recipient. Application engines are created called the Conversation-Engine [Braun01a] which communicates with the audience, the Story-Engine [Braun01b] which narrates interactive non-linear stories, the Character-Engine which controls characters and the Scene-Engine which structures the scene model for the story. In the authoring process for storytelling, the author focuses on brainstorming to preparation and to final design.
Hartmut Koenitz proposes a process and a set of design heuristics for interactive digital narrative and looks into the scholarly perspectives on authoring and design. Perspectives on IDN design exist in different categories – high-level abstract descriptions, inclusion strategies and concrete design. The author's design work is specific to interactive narrative and as a critical reflection, inspired by critical practice and reflective design that provides vital clues for the continued development of theoretical framework.
Ilda Ladeira, Gary Marsden and Lesley Green present designing a storytelling prototype for preserving personal experience narratives. We detail the design of an interactive virtual environment (VE). They studied real-life oral storytelling ethnographically in order to observe how experienced storytellers connect with audiences and draw them into their personal stories. The aim was to learn about techniques for making personal stories engaging, dynamic and interactive for their storytelling prototype. Their prototype design was based on the ethnography findings in their research. A VE with interactive storyteller agents was created.
Bosser, A-G. (Anne-Gwenn); Cavazza, M. O. (Marc); Champagnat, R. (Ronan) (2010) explore rigorous formalisation of narrative concepts, both at the action level and at the plot level with the aim to investigate how to bridge the gap between action descriptions and narrative concepts, by considering the latter from the perspective of resource consumption and causality. They propose Linear Logic for a better description of causality than in Classical and Intuitionistic Logic. Intuitionistic Linear Logic can provide a conceptual model for nonlinear narratives, for it provides a suitable theory of action and change for narrative actions.
Dieter Grasbon and Norbert Braun don't create a model for generating stories in detail but instead hope for authors to create specific interactive scenarios for stories in full detail. They describe a different approach to interactive storytelling which deals with interactive plot at a higher level. A prototype of theirs consists of story engine, a story model and a small number of scenes. Interface and rendering modules separate the story engine from the user, making the engine independent of input and output modalities. Authors exerts direct influence on every part of the system except the story engine and user mode.
Conclusion
The above articles, show the steps we can take in creating structures for interactive storytelling. There a many theories and approaches we can interact with for creating stories for different medias.
Citation
1.Marc Cavazza, David Pizzi. Narratology for Interactive Storytelling: A Critical Introduction.
https://link.springer.com/chapter/10.1007/11944577_7
2.Fred Charles, Steven J. Mead and Marc Cavazza. User Intervention in Virtual Interactive storytelling.
https://ive.scm.tees.ac.uk/beta/data/media/laval2001.pdf
3.Kristopher J. Blom and Steffi Beckhaus. Emotional Storytelling
https://imve.informatik.uni-hamburg.de/publications/EmotionalStorytelling-VR2005-BlomBeckhaus.pdf
4.David Thue, Vadim Bulitko, Marcia Spetch and Eric Wasylishen. Interactive Storytelling: A Player Modelling Approach
http://www.aaai.org/Papers/AIIDE/2007/AIIDE07-008.pdf
5.John Helmes, Xiang Cao, Siân E. Lindley and Abigail Sellen. (2009) Developing the Story: Designing an Interactive Storytelling Application
https://www.microsoft.com/en-us/research/wp-content/uploads/2016/02/its2009_telltable.pdf
6.Oliver Schneider Storyworld Creation: Authoring for Interactive Storytelling
https://dspace5.zcu.cz/bitstream/11025/6006/1/D67.pdf
7.Hartmut Koenitz Design Approaches for Interactive Digital Narrative
https://s3.amazonaws.com/academia.edu.documents/39071749/Design_Approaches_for_Interactive_Digital_Narrative.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&Expires=1550431413&Signature=qulfKeD2rONhoF6nf%2BLTYOpbYjw%3D&response-content-disposition=inline%3B%20filename%3DDesign_Approaches_for_Interactive_Digita.pdf
8.Ilda Ladeira, Gary Marsden and Lesley Green Designing Interactive Storytelling: A Virtual Environment for Personal Experience Narratives
https://link.springer.com/content/pdf/10.1007/978-3-642-23771-3_32.pdf
9.Bosser, A-G. (Anne-Gwenn); Cavazza, M. O. (Marc); Champagnat, R. (Ronan) (2010) Linear logic for non-linear storytelling
http://tees.openrepository.com/tees/bitstream/10149/110653/2/110653.pdf
10.Dieter Grasbon, Norbert Braun A Morphological Approach to Interactive Storytelling
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.21.8572&rep=rep1&type=pdf
Annotated Bibliography 2
Be Interactive
Oliver Schneider, Department of Digital Storytelling Computer Graphics Centre, Rundeturmstraße 6 64283 Darmstadt Germany: Storyworld Creation: Authoring for Interactive Storytelling
Link
The author presents an approach to new authoring methods for interactive storytelling. Today stories can be told from direct worldwide access of content and 3D visualization of content to interactive possibilities for the audience but artistic rules to organize and narrate the stories, the process of is still in the beginning stages. The approach to authoring non-linear stories is broken down into three sections which is story creation, storytelling and story receiving by the recipient. Application engines are created called the Conversation-Engine [Braun01a] which communicates with the audience, the Story-Engine [Braun01b] which narrates interactive non-linear stories, the Character-Engine which controls characters and the Scene-Engine which structures the scene model for the story. In the authoring process for storytelling, the author focuses on brainstorming to preparation and to final design.
Hartmut Koenitz University of Georgia, Department of Telecommunications, 120 Hooper Street Athens, Georgia: Design Approaches for Interactive Digital Narrative
Link
The author propose a process and a set of design heuristics for interactive digital narrative and looks into the scholarly perspectives on authoring and design. Perspectives on IDN design exist in different categories – high-level abstract descriptions, inclusion strategies and concrete design. The author's design work is specific to interactive narrative and as a critical reflection, inspired by critical practice and reflective design that provides vital clues for the continued development of theoretical framework.
Ilda Ladeira, Gary Marsden and Lesley Green, Department of Computer Science/ICT4D Lab, University of Cape Town and Department of Social Anthropology, University of Cape Town Lesley: Designing Interactive Storytelling: A Virtual Environment for Personal Experience Narratives
Link
The authors present designing a storytelling prototype for preserving personal experience narratives. We detail the design of an interactive virtual environment (VE). They studied real-life oral storytelling ethnographically in order to observe how experienced storytellers connect with audiences and draw them into their personal stories. The aim was to learn about techniques for making personal stories engaging, dynamic and interactive for their storytelling prototype. Their prototype design was based on the ethnography findings in their research. A VE with interactive storyteller agents was created.
Bosser, A-G. (Anne-Gwenn); Cavazza, M. O. (Marc); Champagnat, R. (Ronan), Teaside University: Linear logic for non-linear storytelling
Link
The authors explore rigorous formalisation of narrative concepts, both at the action level and at the plot level with the aim to investigate how to bridge the gap between action descriptions and narrative concepts, by considering the latter from the perspective of resource consumption and causality. They propose Linear Logic for a better description of causality than in Classical and Intuitionistic Logic. Intuitionistic Linear Logic can provide a conceptual model for nonlinear narratives, for it provides a suitable theory of action and change for narrative actions.
Dieter Grasbon, Norbert Braun, Digital Storytelling Department, Computer Graphics Center, Darmstadt, Germany: A Morphological Approach to Interactive Storytelling
Link
The authors don't create a model for generating stories in detail but instead hope for authors to create specific interactive scenarios for stories in full detail. They describe a different approach to interactive storytelling which deals with interactive plot at a higher level. A prototype of theirs consists of story engine, a story model and a small number of scenes. Interface and rendering modules separate the story engine from the user, making the engine independent of input and output modalities. Authors exerts direct influence on every part of the system except the story engine and user mode.
Sunday, February 10, 2019
Annotated Bibliography
Marc Cavazza, David Pizzi. Narratology for Interactive Storytelling: A Critical Introduction.
Link
The authors, review the narrative theories that have inspired interactive storytelling (IS) research and provide critical insight into how these theories can support developments. Aristotle provided a model traditional drama for its progression through climax and final resolution. It had been used for centuries until IS researcher Mateas provided an extension to the Artistotelian model. It helped provide important aesthetic properties to stories. Propp was used to stable structure in Russian folktale and helped create narrative functions.
Fred Charles, Steven J. Mead and Marc Cavazza. User Intervention in Virtual Interactive storytelling.
Link
The authors discuss user interaction with artificial actors in the context of virtual storytelling in this paper. A prototype based on Unreal engine game was created to supports both direct “physical” intervention and the use of speech recognition to interact with the sets’ characters in a game. There is a scenario shown with a graph called Figure one to show all the possible plans. Physical user intervention is discussed can change a sub goal of a game where the player can take a different action to achieve a certain goal/objective.
Kristopher J. Blom and Steffi Beckhaus. Emotional Storytelling
Link
The authors make an extension to the structures of story segments in Interactive Storytelling. Software structures that have envisioned engaging, dramatic environments rarely exist and they feel that development of structures for current VR software to enable the creation of these visions is still needed in order to move VR to its full potential. Components added is the Emotion Tracking Engine (ETE) used to keep track of the user’s expected emotional state and the Emotional Path Graph (EPG) which is a time dependent graph of what the author views as the ideal emotional experience for the user.
David Thue, Vadim Bulitko, Marcia Spetch and Eric Wasylishen. Department of Computing Science, Department of Psychology University of Alberta Edmonton, Alberta, Canada.
Interactive Storytelling: A Player Modelling Approach
Link
The authors present PaSSAGE (PlayerSpecific Stories via Automatically Generated Events), an interactive storytelling system that uses player modelling to automatically learn a model of the player’s preferred style of play, and then uses that model to dynamically select the content of an interactive story. They tested their hypotheses by conducting a user study consisting of 90 university students trying their game.
John Helmes, Xiang Cao, Siân E. Lindley and Abigail Sellen. Microsoft Research Cambridge 7 JJ Thomson Avenue, Cambridge CB3 0FB, United Kingdom
Developing the Story: Designing an Interactive Storytelling Application
Link
The authors present the initial interface design. TellTable incorporates photography and a Microsoft Surface interactive tabletop to help stimulate imagination. They uses an iterative design process, tested with children gaining feedback stating adding more structures makes for a simpler system, which also mirrored the stages that children normally go through when telling stories.
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