This thesis investigates a recent form of digital narrative, known as interactive drama. One of the main attractions of narratives, independent
of the medium in which they are presented, is that they elicit emotional
response in their audiences. They have an affective impact. In this work
I argue that an interactive drama, based on a model of the user’s affective
state, should be able to provide a truly immersive user experience.
Table of Contents
1 Introduction
1.1 Generative narrative
1.2 Tale-Spin
1.3 Computer games
1.4 Interactive drama
2 A sample story in interactive drama
2.1 IDtension
2.2 The mutiny
2.3 Identifying the problems
3 Affective sciences and narrative studies
3.1 Theories of emotions and affect
3.2 Dramatic narrative and affect elicitation
3.3 Interest
4 Immersion in a virtual world
4.1 Façade
4.2 Aesthetics and emotions
4.2.1 Appraisal theory of aesthetic emotions
4.2.2 The make-believe theory
5 Uses of player mood modelling in interactive drama presentation
5.1 Cognitive-affective behaviour regulation
5.2 Interactive drama in pedagogical and therapeutic use
5.2.1 Carmen’s Bright IDEAS
5.2.2 Prom Week
5.2.3 FearNot!
6 Integrating the ideas
7 Concluding considerations and outlook
Research Objectives and Key Themes
The primary research objective of this thesis is to investigate how interactive drama systems can transcend simple object-oriented interaction by utilizing affective user modelling. By drawing on theories of narratology, affective science, and cognitive psychology, the work explores how systems can dynamically adapt narrative content to a user's emotional state, thereby fostering deeper immersion and a more meaningful sense of agency.
- Theoretical foundations of affect in narrative and digital media.
- Critique of existing interactive drama architectures and the "interactive paradox."
- Role of mood-cue approaches and aesthetic cues in influencing user experience.
- Potential of interactive drama for pedagogical and therapeutic applications.
- Design considerations for future affective modelling in interactive systems.
Excerpt from the Book
1.1 Generative narrative
Writing any form of narrative is a creative process. Some works of narrative are regarded as more creative than others but as long as the final product is, at least to some degree, novel, we have to attribute creativity to the author. The notion of novelity is important for generative systems, systems that basically create new story content "on the fly". As Pablo Gervás proposes, "whatever is generated must be somewhat unexpected or different from what others might have produced." [22, p.49] Another important aspect is the notion of a "creator", an agent which acts in a creative way to create results that "can be perceived or evaluated." [22, p.50] A fascinating pattern of clouds, even if new and unexpected, is therefore not considered as a result of creativity because there is no creator. With the needs of being perceivable and evaluable another factor comes to play: the audience. Gervás simply defines the audience as "the particular person or persons for which the creative action is intended" [ibid.] and henceforth I will stick to this definition for the audience of all kinds of narrative. In interactive systems the audience is not a passive one, and this is exactly what fuels my position that interactive narrative provides exciting new possibilities, not available to non-interactive forms.
Summary of Chapters
1 Introduction: Provides an overview of narrative across media and introduces the thesis focus on interactive drama as a system that models user affect to enhance immersion.
2 A sample story in interactive drama: Examines the specific architecture and user interface of IDtension through the "The mutiny" scenario, identifying current limitations in user engagement.
3 Affective sciences and narrative studies: Explores historical and current theories of emotion and affect, establishing a foundation for how narratives can elicit specific emotional responses.
4 Immersion in a virtual world: Analyzes the concept of immersion and discusses systems like Façade, focusing on how aesthetics and cognitive appraisal affect user experience.
5 Uses of player mood modelling in interactive drama presentation: Investigates the application of interactive drama in therapeutic and pedagogical contexts, such as Carmen’s Bright IDEAS and FearNot!, highlighting the role of empathy.
6 Integrating the ideas: Summarizes design principles and proposes a prototype for an intuitive, affect-aware interactive drama system.
7 Concluding considerations and outlook: Reflects on the interdisciplinary nature of the research, bridging narratology and experimental cognitive sciences.
Keywords
Interactive drama, Affective modelling, User experience, Narrative theory, Immersion, Cognitive appraisal, Agency, Storytelling, Digital narrative, Pedagogical drama, Therapeutic application, Emotion markers, Virtual agents, Interpersonal relations, Affective science
Frequently Asked Questions
What is the primary focus of this work?
The thesis explores how interactive drama systems can improve user experience and immersion by integrating models of the user's affective state into their narrative design.
What are the central thematic fields covered?
The work connects narratology, cognitive psychology, aesthetic theory, and artificial intelligence to understand how these disciplines inform the creation of compelling interactive stories.
What is the core research goal?
The primary goal is to argue for an shift from simple object manipulation in interactive systems toward a focus on simulating human interpersonal relations guided by user mood.
Which scientific methodology is primarily applied?
The research adopts an analytical, interdisciplinary approach, synthesizing theories from existing literature on narrative studies, film theory, and emotion research to critique existing drama architectures.
What topics does the main body address?
The main sections cover generative narrative histories, the "interactive paradox," the sociology of emotions, the role of aesthetic cues, and practical applications in therapeutic and educational software.
Which keywords best characterize this research?
Key terms include interactive drama, affective modelling, immersion, narrative agency, cognitive appraisal, and human-computer interaction.
How does the author view the "interactive paradox"?
The author sees it as the tension between an author's desire for a coherent narrative structure and a user's demand for autonomy, suggesting that affective modelling can help bridge this gap.
Why is IDtension's user interface critiqued?
The author argues it is confusing and relies on menu-based interactions that break narrative fluidity, suggesting instead more intuitive, non-obtrusive interaction models.
What role do "emotion markers" play in this research?
Emotion markers are narrative elements utilized to intentionally elicit or sustain specific mood states, helping to guide the user's emotional journey throughout the interactive drama.
- Quote paper
- Simon Mayr (Author), 2012, Interactive systems and affective science, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/263695
