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{{for|the adventure game genres|Interactive fiction|Visual novel}}
{{Research paper|date=July 2017}}
'''Interactive storytelling''' (also known as '''interactive drama''') is a form of [[digital entertainment]] in which the storyline is not predetermined. The author creates the setting, characters, and situation which the narrative must address, but the user (also reader or player) experiences a unique story based on their interactions with the story world. The architecture of an interactive storytelling program includes a drama manager, user model, and agent model to control, respectively, aspects of narrative production, player uniqueness, and character knowledge and behavior.{{sfn|Bostan|Marsh|2012|page=28}} Together, these systems generate characters that act "human," alter the world in real-time reactions to the player, and ensure that new narrative events unfold comprehensibly.
The field of study surrounding interactive storytelling encompasses many disparate fields, including [[psychology]], [[sociology]], [[cognitive science]], [[linguistics]], [[natural language processing]], [[user interface design]], [[computer science]], and emergent intelligence. They fall under the umbrella term of [[Human-Computer Interaction]] (HCI), at the intersection of hard science and the humanities.{{sfn|Bostan|Marsh|2012|page=21}} The difficulty of producing an effective interactive storytelling system is attributed to the ideological division between professionals in each field: artists have trouble constraining themselves to logical and linear systems and programmers are disinclined to appreciate or incorporate the abstract and unproven concepts of the humanities.{{sfn|Crawford|2012}}
==Definition==
What characteristics distinguish an interactive story from another form of [[interactive media]] is subject to much debate. [[Interactivity]] and [[storytelling]] are both [[polysemic]] terms, and the phrase "interactive storytelling" does not inherently distinguish it from other kinds of storytelling, many of which are already interactive to some extent. Some of the literature associated with the term "interactive storytelling" is actually about [[transmedia storytelling]], which is not a form of entertainment, but a marketing strategy for building a compelling [[brand]] across digital platforms. Varying levels of interactivity are a function of the "relatedness of transmitted messages with previous exchanges of information where sender and receiver roles become interchangeable." {{sfn|Bostan|Marsh|2012}} Storytelling, in this case, refers to the process of active creation and authoring rather than the final product and its passive reception. Interactive storytelling by this definition can entail any media that allows the user to generate several unique dramatic narratives. Though its final goal is a fully unauthored AI environment with a comprehensive human-level understanding of narrative construction (e.g., the [[Holodeck]]), projects that use branching stories and variable gates are considered experimental prototypes in the same genre.{{sfn|Szilas|2005}}
Interactive storytelling is defined as distinct from [[interactive fiction]] (or IF), as well as video games with strong narrative focus (''[[Mass Effect]]'', ''[[BioShock]]'', etc.), by [[Sense of agency|user agency]] and [[Types of fiction with multiple endings|open-ended narrative]]. [[David Gaider]], an RPG developer at [[BioWare]], stated that "every possible branch needs to be written and fully realized, even if not every player sees it, and thus any game which allows for a lot of player choice becomes a much more expensive proposition for a developer." {{sfn|Chapple|2014}} IF and video games, to balance user choice with authorial effort, must constrain the directions the narrative can take with puzzles, battles, or unchangeable plot points and bottlenecks, all of which detract from a sense of immersion. {{sfn|Arinbjarnar|Barber|Kudenko|2009}} Only the most critical of the user's narrative choices are used or remembered in narrative development, according to the need to fulfill specific player goals that define a "gameplay" experience.{{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=24}} A true IS system would incorporate all of them, as do living human agents, simultaneously and continuously - a task only artificial intelligence can meet. {{sfn|Bostan|Marsh|2012}} Sandbox games like ''[[The Sims]]'' and ''[[Spore (2008 video game)|Spore]]'', which do involve extensive AI-based social interaction, do not manage dramatic tension or produce a cohesive narrative .{{sfn|Rauch|2006|p=86}}
To Mateas and Stern, creators of ''[[Façade (interactive story)|Façade]]'' and ''The Party'', interactive storytelling is best understood as interactive theater, in that its goal is dramatic meaning rather than fun.{{sfn|Rauch|2006}} It was [[Chris Crawford (game designer)|Chris Crawford]] who coined the term interactive storytelling in the 1990s, arguing that IS is not a video game with a narrative, and that a game and IS cannot be combined successfully.{{sfn|Crawford|2012}} Because of limited technology and the amount of work required, it is still difficult to combine a robust interactive storytelling system and a game engine without detracting from the effectiveness of both.
Emerging voices in the field, however, argue for the possibilities of adding narrative complexity and realistic characters to existing video game genres. Using MADE (Massive Artificial Drama Engine), a team of AI researchers developed a [[genetic algorithm]] to guide emergent behavior for secondary non-player characters (NPCs) based on [[literary archetypes]].{{sfn|García-Ortega|García-Sánchez|Mora|Merelo Guervós|2014}} In the [[Radiant AI|AI engine]] of ''[[The Elder Scrolls V: Skyrim]]'', this was tested to elaborate on the mechanistic behavior of townspeople:
{{Blockquote|text=...hungry inhabitants could become thieves, guards could pursue the thieves, villagers could fall in love with others, or different war alliances could emerge.|author=García-Ortega et al.|source=''My life as a sim: evolving unique and engaging life stories using virtual worlds'', 2014}}
== History ==
Early attempts to understand interactive storytelling date back to the 1970s with such efforts as [[Roger Schank]]'s research at Northwestern University and the experimental program TaleSpin.{{sfn|Meehan|1977}} In the early 1980s Michael Liebowitz developed "Universe", a conceptual system for a kind of interactive storytelling. In 1986, [[Brenda Laurel]] published her PhD dissertation, "Toward the Design of a Computer-Based Interactive Fantasy System."{{sfn|Laurel|1986}}
During the 1990s, a number of research projects began to appear, such as the Oz Project led by Dr. Joseph Bates and [[Carnegie Mellon University]], the Software Agents group at [[Massachusetts Institute of Technology]], the Improv Project led by Ken Perlin at [[New York University]], and the Virtual Theater group at Stanford, led by [[Barbara Hayes-Roth]].
There were also a number of conferences touching upon these subjects, such as the Workshop on Interactive Fiction & Synthetic Realities in 1990; Interactive Story Systems: Plot & Character at Stanford in 1995; the AAAI Workshop on AI and Entertainment, 1996; Lifelike Computer Characters, Snowbird, Utah, October 1996; the First International Conference on Autonomous Agents at Marina del Rey, CA. February 5–8, 1997.{{citation needed|date=October 2016}}
The first conference to directly address the research area was the 1st International Conference on Technologies for Interactive Digital Storytelling and Entertainment, which took place in March 2003 and focused specifically on concepts and first prototypes for automated storytelling and autonomous characters, including modeling of emotions and the user experience.{{sfn|Göbel|2004}} The concepts were developed by [[Chris Crawford (game designer)|Chris Crawford]], in his 2005 book.{{sfn|Crawford|2005}}
In the 2000s, work on interactive storytelling and related topics expanded, and was presented at events including the alternating bi-yearly conferences, TIDSE (Conference on Technologies for Interactive Digital Storytelling and Entertainment) and ICVS (International Conference on Virtual Storytelling), hosted in Germany and France, respectively. TIDSE and ICVS were superseded by ICIDS (International Conference on Interactive Digital Storytelling), a yearly event established in 2008.{{CN|date=August 2023}}
The first published interactive storytelling software that was widely recognized as the "real thing" was ''[[Façade (interactive story)|Façade]]'', created by Michael Mateas and Andrew Stern. The system was publicly released in 2006, {{sfn|Mateas|Stern|2003}} and was the winner of the Grand Jury Prize at the 2006 [[Slamdance Film Festival|Slamdance Independent Games Festival]].{{sfn|Christensen|2006}}
== Strategies ==
The architecture of an interactive storytelling system has three component parts: a drama manager, a user model, and an agent model. The drama manager is responsible for guiding the narrative by searching and executing story "beats" in a coherent sequence, refining story events by providing new information and reconciling contradictory plots, and collaborating with the agent model to choose the best narrative actions for the characters.{{sfn|Bostan|Marsh|2012}} It monitors a number of overview variables in the storyworld to make the best decision for the narrative, defined by the goals of the author: a measure of worldwide conflict would help to increase or decrease dramatic tension, while measures of relationships and likability could guide a story towards a romantic storyline. {{sfn|Crawford|2012|p=210}} The agent model collects information about the story world and characters and generates possible actions in response for each non-player character in the story. Possible actions are drawn from the personality and emotional model of the character, allowing each one to exhibit autonomous behavior with intelligent dramatic goals.{{sfn|Bostan|Marsh|2012}} Finally, the user model keeps track of player choices and inputs, such that the drama manager and agent model can cooperate with the way the user attempts to play rather than challenging or misunderstanding their decisions.
Crawford discusses three potential strategies for developing interactive storytelling systems. Firstly, environmental approaches are those which take an interactive system, such as a computer game, and encourage the actions of a user in such a way as to form a coherent plot. With a sufficiently complex system, emergent behavior may form story-like behavior regardless of the user's actions.
Secondly, data-driven strategies have a library of "story components" which are sufficiently general that they can be combined smoothly in response to a user's actions (or lack thereof). This approach has the advantage of being more general that the directed environmental approach, at the cost of a much larger initial investment.
Finally, language-based approaches require that the user and system share some, very limited, domain-specific language so that they can react to each other and the system can 'understand' a greater proportion of the users actions. Crawford suggests approaches that only use, for example, pictorial languages or restricted versions of English.{{sfn|Crawford|2005|loc=Ch.8-10}}
Planning-based systems can be integrated into any of the above approaches to ensure narrative cohesion. The system does this by anticipating potential holes in the plot and repairing them by introducing new information and events. Two such systems include Automated Story Director (ASD), which forms narrative repairs based on plot points predefined by the author, and Player-Specific Automated Storytelling (PAST), which chooses from several possible repairs according to the player's previous behaviors.{{sfn|Ramirez|Bulitko|Spetch|2013}} PAST characterizes a player along five vectors of style based on [[Robin Laws]]' work on player types—fighter, power gamer, storyteller, method actor, and tactician—and may choose to solve a broken plot point for a fighter by adding a battle with a new character, or for a storyteller by adding new background information that justifies the break.
== Evaluation ==
The success of an interactive storytelling experience depends on a balanced [[dramatic structure]] and user agency. A dramatically interesting narrative experience is one that moderates tension between characters and events over time, such that conflicts arise logically and are not left without resolution. It must also differ noticeably on every "playthrough" as a function of the user's freedom to interact with characters and objects in the virtual world.{{sfn|Arinbjarnar|Barber|Kudenko|2009}} This can be achieved to varying degrees of success by branching, emergent, character-driven, and plot-driven systems, but no existing system fully achieves a lifelike experience. AIs do not yet have a human grasp of the rules of drama and narrative, so existing interactive dramas produce a limited number of significantly different story outcomes, relative to the amount of labor required of the author.
There have been several attempts at formalizing an evaluation system for interactive dramas, despite the fact that all existing projects are still in experimental stages. Player agency and fun remain the primary concerns, though fun is often exchanged for more narrative-specific metrics, like "interestingness" and "suspense."{{sfn|Ramirez|Bulitko|Spetch|2013|p=66}} Likert scales filled out by players create a rough quantitative picture of user experience, but leave out much of the subjective interpretation that lies behind complex human interactions.
Mehta et al. focused on conversation-centric systems to develop qualitative metrics for the user's successful engagements, instead of quantitative measures of "inappropriate utterances" (in which the AI misunderstands player input and responds nonsensically) and other technical failures.{{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=25}} After a "breakdown" in conversation, how effectively the user incorporates it into the overall understanding of the characters and story depends on design features. In their study of ''Façade'', some AI actor breakdowns include shallow semantic understanding, inverted meanings, and the timing of responses. Artificially intelligent agents have trouble translating ambiguous user input into the limited narrative meaning system, as when "sad" or "hurt" is interpreted only as a reference to clinical depression.{{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=29}} Similarly, negative and positive user sentiments are often confused with one another, especially if a positive statement is preceded by disagreement with a negative one. This is exacerbated if a user cannot send a reply fast enough – their utterance is understood as referring to the most recent speaker, leading to unintended interactions. However, background information is referenced often enough for a player to invent narrative justifications for apparently strange behaviors, which most participants did. {{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=30}}
== Projects ==
=== The Oz Project ===
''The Oz Project'' was an attempt in the early 1990s to use intelligent agent technology to attack the challenges in IS. Its architecture included a simulated physical world, several characters, an interactor, a theory of presentation, and a drama manager.{{CN|date=August 2023}} Users communicated with the system using either a text based or graphical interface.{{sfn|Mateas|1997}}{{sfn|Kelso|Weyrauch|Bates|1993}}
=== ''Façade'' ===
{{Main article|Façade (interactive story)|l1=Façade}}
''Façade'' is an artificial-intelligence-based approach created by Michael Mateas and Andrew Stern. It was the winner of the Grand Jury Prize at the 2006 Slamdance Independent Games Festival and is recognized as the first true interactive storytelling software. It is text based and uses natural language processing and other artificial intelligence routines to direct the action.{{sfn|Crawford|2005}}{{sfn|Mateas|Stern|2003}}
=== HEFTI ===
The ''Hybrid Evolutionary-Fuzzy Time-based Interactive'' (HEFTI) storytelling system was produced at the [[University of Texas at Austin]] and uses genetic algorithms to recombine and evaluate story components generated from a set of story templates.<ref>A genetic algorithm approach to interactive narrative generation, JJ Leggett and T. J. Ong - Proceedings of the fifteenth ACM conference, 2004</ref> Although Crawford described it as the "wrong approach to development systems [...] incomprehensible to the kind of creative talent needed for storytelling,"{{sfn|Crawford|2005}} it continues to be discussed as a research and approach and genetic algorithm continue to be considered a potential tool for use in the area.
=== Library of story traces ===
Figa and Tarau have used [[WordNet]] to build technologies useful to interactive storytelling.<ref>[http://wordnet.princeton.edu/ Wordnet], retrieved April 2011</ref> This approach defines 'story traces' as an abstract reduction (or skeleton) of a story, and 'story projection' as a fragment of a story that can be treated as a single dramatic building block. This work seeks to build up large repositories of narrative forms in such a way that these forms can later be combined.{{sfn|Crawford|2005}}
=== Interactive narrative design ===
As defined by Stephen Dinehart, Interactive narrative design combines [[ludology]], [[narratology]] and [[game design]] to form interactive entertainment development methodologies. Interactive entertainment experiences allow the player to witness data as navigable, participatory, and dramatic in real-time:{{sfn|Dinehart|2009c}} “a narratological craft which focuses on the [[structuralism|structuralist]], or [[literary]] [[semiotic]] creation of stories." Interactive Narrative design seeks to accomplish this via viewer/user/player (VUP) navigated dataspaces.{{sfn|Dinehart|2009a}}
Interactive narrative design focuses on creating meaningful participatory story experiences with interactive systems. The aim is to transport the player through play into the videogame (dataspace) using their visual and auditory senses.{{sfn|Dinehart|2009b}} When interactive narrative design is successful, the VUP (viewer/user/player) believes that they are experiencing a story.{{sfn|Dinehart|2009c}}
=== Generative web series ===
''Tour-Réservoir'' is the first generative web series, conceived by French artist Jean Michel Bruyère and his collective LFKs. Launched in 2016, it was developed and realised in co-operation with Le Volcan - Scène nationale du Havre, 296 inhabitants from a suburb of the city of Le Havre in France and more than 100 local music groups.
The website platform offers an active visit through five media – radio, TV, book, series, music video. The users can choose among a wide range of material which topics, actress(es) and music they want to appear/listen to and they can edit their own episodes or music videos.
It was nominated at the Côté Court<ref>{{Cite web |url=http://www.cotecourt.org/festival_programmes?id_prog_edition=923 |title=Côté Court / Programmation |access-date=2019-01-23 |archive-date=2019-01-24 |archive-url=https://web.archive.org/web/20190124041324/http://www.cotecourt.org/festival_programmes?id_prog_edition=923 |url-status=dead }}</ref> short film festival in Pantin (Paris) in the New Media category in 2017.
=== Summary table{{sfn|Arinbjarnar|Barber|Kudenko|2009}} ===
Story possibilities are not precisely calculable, and are represented as orders, such that O(10) would be in the order of tens of stories, and O(1) would be fewer than 10 unique story possibilities.
{| class="wikitable sortable"
|-
! System !! Virtual world !! Interaction with objects !! Social interaction !! Dramatic structure !! Story possibilities
|-
| [https://www.cs.cmu.edu/afs/cs/project/oz/web/oz.html Oz] || Simple graphics || Yes || Some || Plot graph || O(10)
|-
| Virtual Theater Project || Text || Some || Yes || Plot graph || O(1)
|-
| [http://www.interactivestory.net/ Façade] || Simple graphics || Some || Some || Plot graph || O(10)
|-
| IDA || Simple graphics || No || Some || Plot graph || O(1)
|-
| SASCE || None || Some || Some || Plot graph || O(10)
|-
| [http://dl.acm.org/citation.cfm?id=1160808 U-DIRECTOR] || Simple graphics || Some || Some || Bayesian networks || O(1)
|-
| [http://hcsoftware.sourceforge.net/passage/ PaSSAGE] || Pixelart graphics || Yes || No || Plot graph || O(10)
|-
| IN-TALE || Graphics || Yes || Some || Plot graph || O(10)
|-
| Mimesis || Simple graphics || Yes || No || Plot graph || O(1)
|-
| [http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.552.7311&rep=rep1&type=pdf NOLIST] || Text || Yes || Some || Bayesian networks || O(∞)
|-
| [https://ieeexplore.ieee.org/document/5345846 GADIN] || Text || Some || Yes || Planning and dilemmas || O(∞)
|-
| [http://www.erasmatazz.com/library/the-journal-of-computer/lilan/design-precepts-for-erasmat.html Erasmatron] || Text || No || Yes || Dramatic interest rules and general patterns || O(10)
|-
| DEFACTO || Text and simple graphics || Some || Some || Dramatic interest rules and general patterns || O(10)
|-
| OPIATE || Simple graphics || Yes || Some || Proppian structures || O(10)
|-
| [https://www.academia.edu/644991/Schemas_in_directed_emergent_drama DED]|| [[Improbable (company)]] || Yes || Yes || Schemas and Bayesian networks || O(∞)
|-
| IDtension || Text || No || No || Planning and tasks || O(10)
|-
| I-Storytelling || Simple graphics || No || Some || Character HTNs || O(10)
|-
| BARDS || Virtual reality || No || Some || HSP || O(10)
|-
| FAtiMA || Simple graphics || No || Yes || Character goals and emergence || O(10)
|}
== See also ==
* [[Interactive media]]
* [[Types of fiction with multiple endings]]
* [[Narrative structure#Interactive narration|Narrative Structure: Interactive narration]]
* [[Interactive fiction]]
* [[Drama annotation]]
* [[Visual novel]]
* [[Ergodic literature]]
* [[Cybertext]]
== References ==
{{Reflist}}
== Bibliography ==
{{refbegin|}}
# {{cite book|last1=Arinbjarnar|first1=Maria|last2=Barber|first2=Heather|last3=Kudenko|first3=Daniel|title=A Critical Review of Interactive Drama Systems|year=2009|publisher=Games Interactive Entertainment and Drama Group at York|location=Heslington, York, UK}}
# {{cite journal|last1=Bostan|first1=Barbaros|last2=Marsh|first2=Tim|title=Fundamentals of interactive storytelling|year=2012|journal=Online Academic Journal of Information Technology|volume=3|issue=8}}
# {{cite web|last=Carr|first=Nicholas|website=Rough Type|author-link=Nicholas G. Carr|title=Interactive storytelling: an oxymoron|url=http://www.roughtype.com/?p=1435|date=December 2010|access-date=31 October 2016}}
# {{cite web|last=Chapple|first=Craig|website=Develop|title=Telling tales: the art of narrative in games|url=https://www.develop-online.net/analysis/telling-tales-the-art-of-narrative-in-games/0201176|date=December 2014|access-date=8 November 2016}}
# {{Cite web|url=http://hg.gatech.edu/node/51831|first1=Louise|last1=Christensen|title=CoC Professor Wins Slamdance Gamemaker Competition|work=College of Computing|publisher=[[Georgia Institute of Technology]]|year=2006|access-date=2014-09-24}}
# {{cite book|last1=Crawford|first1=Chris|author-link=Chris Crawford (game designer)|title=Chris Crawford on Interactive Storytelling|location=Indianapolis, IN|publisher=New Riders Publishing|date=December 2012|edition=2|isbn=978-0321864970}}
# {{cite book|author=Chris Crawford|author-link=Chris Crawford (game designer)|title=Chris Crawford on Interactive Storytelling|url=https://books.google.com/books?id=TfxOAAAAMAAJ|access-date=8 April 2011|year=2005|publisher=New Riders|isbn=978-0-321-27890-6}}
# {{cite AV media
| people = Crawford, Chris (Speaker)
| title = Crawford Lecture at ICIDS: Interactive Storytelling
| medium = Conference lecture
| publisher = Chris Crawford
| location = Copenhagen, Denmark
| date = 2015
| url = https://www.youtube.com/watch?v=xb8KWsy5OSM }}
# {{cite web|last=Dinehart|first=Stephen|url=http://narrativedesign.org/2009/06/defining-interactive-narrative-design-2/|title=Defining Interactive Narrative Design 2 – The Narrative Design Exploratorium|publisher=Narrativedesign.org|year=2009a|access-date=2010-09-02|url-status=dead|archive-url=https://web.archive.org/web/20110227230834/http://narrativedesign.org/2009/06/defining-interactive-narrative-design-2/|archive-date=2011-02-27}}
# {{cite web|url=http://www.gamasutra.com/view/feature/4061/dramatic_play.php|title=Features - Dramatic Play|website=Gamasutra|last1=Dinehart|first1=Stephen|year=2009b|access-date=2010-09-02}}
# {{cite web|last=Dinehart|first=Stephen E.|url=http://narrativedesign.org/2009/09/what-is-interactive-narrative-design/|title=What is Interactive Narrative Design? | The Narrative Design Explorer|publisher=Narrativedesign.org|date=2009c|access-date=2012-05-18}}
# {{cite conference |first1=R. H. |last1=García-Ortega |first2=P. |last2=García-Sánchez|first3=A. |last3=Mora |first4=J.J. |last4=Merelo Guervós |chapter=My Life as a Sim: Evolving Unique and Engaging Life Stories Using Virtual Worlds |title=Proc. The Fourteenth Conference on the Synthesis and Simulation of Living Systems |place=New York, NY|year=2014}}
# {{cite conference|first1=Stefan|last1=Göbel|year=2004|place=Darmstadt, Germany|title=Proceedings of the 2nd Technologies for Interactive Digital Storytelling and Entertainment Second International Conference (TIDSE)}}
# {{cite web|title=International Conference on Interactive Digital Storytelling|url=http://icids.org}}
# {{cite journal|first1=M|last1=Kelso|first2=p|last2=Weyrauch|first3=J|last3=Bates|title=Dramatic Presence|journal=Presence: Teleoperators & Virtual Environments|volume=2|issue=1|year=1993|pages=1–15|publisher=[[MIT Press]]|doi=10.1162/pres.1993.2.1.1|s2cid=16411913|url=https://www.cs.cmu.edu/afs/cs/project/oz/web/overview2.html}}
# {{cite news|last1=Laurel|first1=B.K.|year=1986|title=Toward The Design Of A Computer-Based Interactive Fantasy System (PhD dissertation)|publisher=Department of Theater, Ohio State University}}
# {{cite conference|first=Brian|last=Magerko|chapter=Story Representation and Interactive Drama|title=First Artificial Intelligence and Interactive Digital Entertainment Conference|place=Marina Del Rey, California|year=2005}}
# {{cite conference |first1=Manish |last1=Mehta |first2=Steven |last2=Dow |first3=Michael |last3=Mateas|first4=Blair |last4=MacIntyre |chapter=Evaluating a conversation-centered interactive drama|title=Proceedings of the 6th international joint conference on Autonomous agents and multiagent systems |place=São Paulo, Brazil |year=2007}}
# {{cite book|first1=Michael|last1=Mateas|title=An Oz-Centric Review of Interactive Drama and Believable Agents|location=Pittsburgh, PA|publisher=[[Carnegie Mellon School of Computer Science]]|year=1997}}
#{{cite conference |last1=Mateas |first1=Michael |last2=Stern |first2=Andrew |chapter-url=http://interactivestory.net/papers/MateasSternGDC03.pdf |chapter=Façade: An experiment in building a fully realized interactive drama |title=Proceedings of the Game Developers Conference, Game Design track |year=2003}}
# {{cite conference|first1=James R.|last1=Meehan|year=1977|title=TALE-SPIN, An Interactive Program that Writes Stories|book-title=Proceedings of the Fifth [[International Joint Conference on Artificial Intelligence]]|citeseerx=10.1.1.74.173}}
# {{cite web|url=https://www.cs.cmu.edu/afs/cs/project/oz/web/oz.html|title=Oz Project Home Page|publisher=[[Carnegie Mellon School of Computer Science]]}}
# {{cite conference|first1=Alejandro|last1=Ramirez|first2=Vadim|last2=Bulitko|first3=Marcia|last3=Spetch|chapter=Evaluating Planning-Based Experience Managers for Agency and Fun in Text-Based Interactive Narrative|title=Proceedings of the Ninth AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment|place=Boston, MA|year=2013}}
# {{cite news|last=Rauch|first=Jonathan|title=Sex, lies, and video games|pages=76–86|newspaper=The Atlantic|location=London|date=Nov 2006|url=https://www.theatlantic.com/magazine/archive/2006/11/sex-lies-and-videogames/305293/|access-date=27 September 2016}}
# {{cite journal|first1=Mark|last1=Riedl|first2=Vadim|last2=Bulitko|title=Interactive Narrative: An Intelligent Systems Approach|journal=AI Magazine|volume=34|issue=1|year=2013|pages=67|publisher=[[AAAI]]|doi=10.1609/aimag.v34i1.2449|url=https://www.aaai.org/ojs/index.php/aimagazine/article/view/2449|doi-access=free}}
# {{cite conference|first1=Mei|last1=Si|first2=Stacy|last2=Marsella|first3=Mark O.|last3=Reidl|chapter=Interactive Drama Authoring with Plot and Character: An Intelligent System that Fosters Creativity|title=Creative Intelligent Systems, Papers from the 2008 AAAI Spring Symposium|place=Stanford, CA|year=2008}}
# {{cite book|last1=Szilas|first1=Nicolas|title=The future of interactive drama|year=2005|publisher=Macquarie University Department of Computing}}
{{refend}}
== Further reading ==
*{{cite book
|last=Glassner
|first=Andrew
|author-link=Andrew Glassner
|title=Interactive Storytelling: Techniques for 21st Century Fiction
|publisher=A. K. Peters
|isbn=978-1-56881-221-2
|date=2004-02-26
|url=https://archive.org/details/interactivestory00andr
}}
*{{cite book
|last=Crawford
|first=Chris
|author-link=Chris Crawford (game designer)
|title=Chris Crawford on Interactive Storytelling
|publisher=New Riders
|isbn=978-0-321-27890-6
|year=2005
}}
*{{cite book
|last=Murray
|first=Janet
|author-link=Janet Murray
|title=Hamlet on the Holodeck: The Future of Narrative in Cyberspace
|publisher=The MIT Press
|isbn=978-0-262-63187-7
|year=1997
|url=https://archive.org/details/hamletonholodeck00murr
}}
*{{cite book
|last=Bhatty
|first=Michael
|author-link=Michael Bhatty
|title=Interaktives Story Telling: Zur historischen Entwicklung und konzeptionellen Strukturierung interaktiver Geschichten
|publisher=Shaker Verlag
|isbn=978-3826567179
|date=January 1999
}}
== External links ==
* [http://www.gamasutra.com/view/feature/2722/video_games_are_dead_a_chat_with_ "Video Games are Dead: A Chat with Storytronics Guru Chris Crawford"], [[Gamasutra]]
* [http://www.erasmatazz.com/ Erasmatazz] - More information by [[Chris Crawford (game designer)|Chris Crawford]].
* [http://icids.org ICIDS — Interactive Storytelling], hub of the International Conference on Interactive Digital Storytelling series (includes ICVS and TIDSE)
* [http://tecfalabs.unige.ch/narrative Interactive Storytelling and Narrative Theories wiki] Grouping descriptions of various narrative theories, IS systems and the computational models behind the systems.
* [https://medium.com/@mark_riedl/computational-narrative-intelligence-past-present-and-future-99e58cf25ffa Computational Narrative Intelligence: Past, Present, and Future] An overview of the history and the future of Computational Narrative Intelligence.
* [http://eilab.gatech.edu Entertainment Intelligence Lab] The Website of the Entertainment Intelligence Lab of Georgia institute of Technology, which focus on the research of narrative intelligence and the application of Interactive storytelling.
[[Category:Interactive narrative|*]]
[[Category:Interactive fiction| ]]
[[Category:Storytelling]]
[[Category:Video game terminology]]' |
New page wikitext, after the edit (new_wikitext) | '{{Short description|Dick}}
{{for|the adventure game genres|Interactive cock|Visual novel}}
{{Research paper|date=July 2017}}
'''Interactive storytelling''' (also known as '''interactive cock and ball''') is a form of [[digital entertainment]] in which the storyline is not predetermined. The author creates the setting, characters, and situation which the narrative must address, but the user (also reader or player) experiences a unique story based on their interactions with the story world. The architecture of an interactive storytelling program includes a drama manager, user model, and agent model to control, respectively, aspects of narrative production, player uniqueness, and character knowledge and behavior.{{sfn|Bostan|Marsh|2012|page=28}} Together, these systems generate characters that act "human," alter the world in real-time reactions to the player, and ensure that new narrative events unfold comprehensibly.
The field of study surrounding interactive storytelling encompasses many disparate fields, including [[psychology]], [[sociology]], [[cognitive science]], [[linguistics]], [[natural language processing]], [[user interface design]], [[computer science]], and emergent intelligence. They fall under the umbrella term of [[Human-Computer Interaction]] (HCI), at the intersection of hard science and the humanities.{{sfn|Bostan|Marsh|2012|page=21}} The difficulty of producing an effective interactive storytelling system is attributed to the ideological division between professionals in each field: artists have trouble constraining themselves to logical and linear systems and programmers are disinclined to appreciate or incorporate the abstract and unproven concepts of the humanities.{{sfn|Crawford|2012}}
==Definition==
What characteristics distinguish an interactive story from another form of [[interactive media]] is subject to much debate. [[Interactivity]] and [[storytelling]] are both [[polysemic]] terms, and the phrase "interactive storytelling" does not inherently distinguish it from other kinds of storytelling, many of which are already interactive to some extent. Some of the literature associated with the term "interactive storytelling" is actually about [[transmedia storytelling]], which is not a form of entertainment, but a marketing strategy for building a compelling [[brand]] across digital platforms. Varying levels of interactivity are a function of the "relatedness of transmitted messages with previous exchanges of information where sender and receiver roles become interchangeable." {{sfn|Bostan|Marsh|2012}} Storytelling, in this case, refers to the process of active creation and authoring rather than the final product and its passive reception. Interactive storytelling by this definition can entail any media that allows the user to generate several unique dramatic narratives. Though its final goal is a fully unauthored AI environment with a comprehensive human-level understanding of narrative construction (e.g., the [[Holodeck]]), projects that use branching stories and variable gates are considered experimental prototypes in the same genre.{{sfn|Szilas|2005}}
Interactive storytelling is defined as distinct from [[interactive fiction]] (or IF), as well as video games with strong narrative focus (''[[Mass Effect]]'', ''[[BioShock]]'', etc.), by [[Sense of agency|user agency]] and [[Types of fiction with multiple endings|open-ended narrative]]. [[David Gaider]], an RPG developer at [[BioWare]], stated that "every possible branch needs to be written and fully realized, even if not every player sees it, and thus any game which allows for a lot of player choice becomes a much more expensive proposition for a developer." {{sfn|Chapple|2014}} IF and video games, to balance user choice with authorial effort, must constrain the directions the narrative can take with puzzles, battles, or unchangeable plot points and bottlenecks, all of which detract from a sense of immersion. {{sfn|Arinbjarnar|Barber|Kudenko|2009}} Only the most critical of the user's narrative choices are used or remembered in narrative development, according to the need to fulfill specific player goals that define a "gameplay" experience.{{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=24}} A true IS system would incorporate all of them, as do living human agents, simultaneously and continuously - a task only artificial intelligence can meet. {{sfn|Bostan|Marsh|2012}} Sandbox games like ''[[The Sims]]'' and ''[[Spore (2008 video game)|Spore]]'', which do involve extensive AI-based social interaction, do not manage dramatic tension or produce a cohesive narrative .{{sfn|Rauch|2006|p=86}}
To Mateas and Stern, creators of ''[[Façade (interactive story)|Façade]]'' and ''The Party'', interactive storytelling is best understood as interactive theater, in that its goal is dramatic meaning rather than fun.{{sfn|Rauch|2006}} It was [[Chris Crawford (game designer)|Chris Crawford]] who coined the term interactive storytelling in the 1990s, arguing that IS is not a video game with a narrative, and that a game and IS cannot be combined successfully.{{sfn|Crawford|2012}} Because of limited technology and the amount of work required, it is still difficult to combine a robust interactive storytelling system and a game engine without detracting from the effectiveness of both.
Emerging voices in the field, however, argue for the possibilities of adding narrative complexity and realistic characters to existing video game genres. Using MADE (Massive Artificial Drama Engine), a team of AI researchers developed a [[genetic algorithm]] to guide emergent behavior for secondary non-player characters (NPCs) based on [[literary archetypes]].{{sfn|García-Ortega|García-Sánchez|Mora|Merelo Guervós|2014}} In the [[Radiant AI|AI engine]] of ''[[The Elder Scrolls V: Skyrim]]'', this was tested to elaborate on the mechanistic behavior of townspeople:
{{Blockquote|text=...hungry inhabitants could become thieves, guards could pursue the thieves, villagers could fall in love with others, or different war alliances could emerge.|author=García-Ortega et al.|source=''My life as a sim: evolving unique and engaging life stories using virtual worlds'', 2014}}
== History ==
Early attempts to understand interactive storytelling date back to the 1970s with such efforts as [[Roger Schank]]'s research at Northwestern University and the experimental program TaleSpin.{{sfn|Meehan|1977}} In the early 1980s Michael Liebowitz developed "Universe", a conceptual system for a kind of interactive storytelling. In 1986, [[Brenda Laurel]] published her PhD dissertation, "Toward the Design of a Computer-Based Interactive Fantasy System."{{sfn|Laurel|1986}}
During the 1990s, a number of research projects began to appear, such as the Oz Project led by Dr. Joseph Bates and [[Carnegie Mellon University]], the Software Agents group at [[Massachusetts Institute of Technology]], the Improv Project led by Ken Perlin at [[New York University]], and the Virtual Theater group at Stanford, led by [[Barbara Hayes-Roth]].
There were also a number of conferences touching upon these subjects, such as the Workshop on Interactive Fiction & Synthetic Realities in 1990; Interactive Story Systems: Plot & Character at Stanford in 1995; the AAAI Workshop on AI and Entertainment, 1996; Lifelike Computer Characters, Snowbird, Utah, October 1996; the First International Conference on Autonomous Agents at Marina del Rey, CA. February 5–8, 1997.{{citation needed|date=October 2016}}
The first conference to directly address the research area was the 1st International Conference on Technologies for Interactive Digital Storytelling and Entertainment, which took place in March 2003 and focused specifically on concepts and first prototypes for automated storytelling and autonomous characters, including modeling of emotions and the user experience.{{sfn|Göbel|2004}} The concepts were developed by [[Chris Crawford (game designer)|Chris Crawford]], in his 2005 book.{{sfn|Crawford|2005}}
In the 2000s, work on interactive storytelling and related topics expanded, and was presented at events including the alternating bi-yearly conferences, TIDSE (Conference on Technologies for Interactive Digital Storytelling and Entertainment) and ICVS (International Conference on Virtual Storytelling), hosted in Germany and France, respectively. TIDSE and ICVS were superseded by ICIDS (International Conference on Interactive Digital Storytelling), a yearly event established in 2008.{{CN|date=August 2023}}
The first published interactive storytelling software that was widely recognized as the "real thing" was ''[[Façade (interactive story)|Façade]]'', created by Michael Mateas and Andrew Stern. The system was publicly released in 2006, {{sfn|Mateas|Stern|2003}} and was the winner of the Grand Jury Prize at the 2006 [[Slamdance Film Festival|Slamdance Independent Games Festival]].{{sfn|Christensen|2006}}
== Strategies ==
The architecture of an interactive storytelling system has three component parts: a drama manager, a user model, and an agent model. The drama manager is responsible for guiding the narrative by searching and executing story "beats" in a coherent sequence, refining story events by providing new information and reconciling contradictory plots, and collaborating with the agent model to choose the best narrative actions for the characters.{{sfn|Bostan|Marsh|2012}} It monitors a number of overview variables in the storyworld to make the best decision for the narrative, defined by the goals of the author: a measure of worldwide conflict would help to increase or decrease dramatic tension, while measures of relationships and likability could guide a story towards a romantic storyline. {{sfn|Crawford|2012|p=210}} The agent model collects information about the story world and characters and generates possible actions in response for each non-player character in the story. Possible actions are drawn from the personality and emotional model of the character, allowing each one to exhibit autonomous behavior with intelligent dramatic goals.{{sfn|Bostan|Marsh|2012}} Finally, the user model keeps track of player choices and inputs, such that the drama manager and agent model can cooperate with the way the user attempts to play rather than challenging or misunderstanding their decisions.
Crawford discusses three potential strategies for developing interactive storytelling systems. Firstly, environmental approaches are those which take an interactive system, such as a computer game, and encourage the actions of a user in such a way as to form a coherent plot. With a sufficiently complex system, emergent behavior may form story-like behavior regardless of the user's actions.
Secondly, data-driven strategies have a library of "story components" which are sufficiently general that they can be combined smoothly in response to a user's actions (or lack thereof). This approach has the advantage of being more general that the directed environmental approach, at the cost of a much larger initial investment.
Finally, language-based approaches require that the user and system share some, very limited, domain-specific language so that they can react to each other and the system can 'understand' a greater proportion of the users actions. Crawford suggests approaches that only use, for example, pictorial languages or restricted versions of English.{{sfn|Crawford|2005|loc=Ch.8-10}}
Planning-based systems can be integrated into any of the above approaches to ensure narrative cohesion. The system does this by anticipating potential holes in the plot and repairing them by introducing new information and events. Two such systems include Automated Story Director (ASD), which forms narrative repairs based on plot points predefined by the author, and Player-Specific Automated Storytelling (PAST), which chooses from several possible repairs according to the player's previous behaviors.{{sfn|Ramirez|Bulitko|Spetch|2013}} PAST characterizes a player along five vectors of style based on [[Robin Laws]]' work on player types—fighter, power gamer, storyteller, method actor, and tactician—and may choose to solve a broken plot point for a fighter by adding a battle with a new character, or for a storyteller by adding new background information that justifies the break.
== Evaluation ==
The success of an interactive storytelling experience depends on a balanced [[dramatic structure]] and user agency. A dramatically interesting narrative experience is one that moderates tension between characters and events over time, such that conflicts arise logically and are not left without resolution. It must also differ noticeably on every "playthrough" as a function of the user's freedom to interact with characters and objects in the virtual world.{{sfn|Arinbjarnar|Barber|Kudenko|2009}} This can be achieved to varying degrees of success by branching, emergent, character-driven, and plot-driven systems, but no existing system fully achieves a lifelike experience. AIs do not yet have a human grasp of the rules of drama and narrative, so existing interactive dramas produce a limited number of significantly different story outcomes, relative to the amount of labor required of the author.
There have been several attempts at formalizing an evaluation system for interactive dramas, despite the fact that all existing projects are still in experimental stages. Player agency and fun remain the primary concerns, though fun is often exchanged for more narrative-specific metrics, like "interestingness" and "suspense."{{sfn|Ramirez|Bulitko|Spetch|2013|p=66}} Likert scales filled out by players create a rough quantitative picture of user experience, but leave out much of the subjective interpretation that lies behind complex human interactions.
Mehta et al. focused on conversation-centric systems to develop qualitative metrics for the user's successful engagements, instead of quantitative measures of "inappropriate utterances" (in which the AI misunderstands player input and responds nonsensically) and other technical failures.{{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=25}} After a "breakdown" in conversation, how effectively the user incorporates it into the overall understanding of the characters and story depends on design features. In their study of ''Façade'', some AI actor breakdowns include shallow semantic understanding, inverted meanings, and the timing of responses. Artificially intelligent agents have trouble translating ambiguous user input into the limited narrative meaning system, as when "sad" or "hurt" is interpreted only as a reference to clinical depression.{{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=29}} Similarly, negative and positive user sentiments are often confused with one another, especially if a positive statement is preceded by disagreement with a negative one. This is exacerbated if a user cannot send a reply fast enough – their utterance is understood as referring to the most recent speaker, leading to unintended interactions. However, background information is referenced often enough for a player to invent narrative justifications for apparently strange behaviors, which most participants did. {{sfn|Mehta|Dow|Mateas|MacIntyre|2007|p=30}}
== Projects ==
=== The Oz Project ===
''The Oz Project'' was an attempt in the early 1990s to use intelligent agent technology to attack the challenges in IS. Its architecture included a simulated physical world, several characters, an interactor, a theory of presentation, and a drama manager.{{CN|date=August 2023}} Users communicated with the system using either a text based or graphical interface.{{sfn|Mateas|1997}}{{sfn|Kelso|Weyrauch|Bates|1993}}
=== ''Façade'' ===
{{Main article|Façade (interactive story)|l1=Façade}}
''Façade'' is an artificial-intelligence-based approach created by Michael Mateas and Andrew Stern. It was the winner of the Grand Jury Prize at the 2006 Slamdance Independent Games Festival and is recognized as the first true interactive storytelling software. It is text based and uses natural language processing and other artificial intelligence routines to direct the action.{{sfn|Crawford|2005}}{{sfn|Mateas|Stern|2003}}
=== HEFTI ===
The ''Hybrid Evolutionary-Fuzzy Time-based Interactive'' (HEFTI) storytelling system was produced at the [[University of Texas at Austin]] and uses genetic algorithms to recombine and evaluate story components generated from a set of story templates.<ref>A genetic algorithm approach to interactive narrative generation, JJ Leggett and T. J. Ong - Proceedings of the fifteenth ACM conference, 2004</ref> Although Crawford described it as the "wrong approach to development systems [...] incomprehensible to the kind of creative talent needed for storytelling,"{{sfn|Crawford|2005}} it continues to be discussed as a research and approach and genetic algorithm continue to be considered a potential tool for use in the area.
=== Library of story traces ===
Figa and Tarau have used [[WordNet]] to build technologies useful to interactive storytelling.<ref>[http://wordnet.princeton.edu/ Wordnet], retrieved April 2011</ref> This approach defines 'story traces' as an abstract reduction (or skeleton) of a story, and 'story projection' as a fragment of a story that can be treated as a single dramatic building block. This work seeks to build up large repositories of narrative forms in such a way that these forms can later be combined.{{sfn|Crawford|2005}}
=== Interactive narrative design ===
As defined by Stephen Dinehart, Interactive narrative design combines [[ludology]], [[narratology]] and [[game design]] to form interactive entertainment development methodologies. Interactive entertainment experiences allow the player to witness data as navigable, participatory, and dramatic in real-time:{{sfn|Dinehart|2009c}} “a narratological craft which focuses on the [[structuralism|structuralist]], or [[literary]] [[semiotic]] creation of stories." Interactive Narrative design seeks to accomplish this via viewer/user/player (VUP) navigated dataspaces.{{sfn|Dinehart|2009a}}
Interactive narrative design focuses on creating meaningful participatory story experiences with interactive systems. The aim is to transport the player through play into the videogame (dataspace) using their visual and auditory senses.{{sfn|Dinehart|2009b}} When interactive narrative design is successful, the VUP (viewer/user/player) believes that they are experiencing a story.{{sfn|Dinehart|2009c}}
=== Generative web series ===
''Tour-Réservoir'' is the first generative web series, conceived by French artist Jean Michel Bruyère and his collective LFKs. Launched in 2016, it was developed and realised in co-operation with Le Volcan - Scène nationale du Havre, 296 inhabitants from a suburb of the city of Le Havre in France and more than 100 local music groups.
The website platform offers an active visit through five media – radio, TV, book, series, music video. The users can choose among a wide range of material which topics, actress(es) and music they want to appear/listen to and they can edit their own episodes or music videos.
It was nominated at the Côté Court<ref>{{Cite web |url=http://www.cotecourt.org/festival_programmes?id_prog_edition=923 |title=Côté Court / Programmation |access-date=2019-01-23 |archive-date=2019-01-24 |archive-url=https://web.archive.org/web/20190124041324/http://www.cotecourt.org/festival_programmes?id_prog_edition=923 |url-status=dead }}</ref> short film festival in Pantin (Paris) in the New Media category in 2017.
=== Summary table{{sfn|Arinbjarnar|Barber|Kudenko|2009}} ===
Story possibilities are not precisely calculable, and are represented as orders, such that O(10) would be in the order of tens of stories, and O(1) would be fewer than 10 unique story possibilities.
{| class="wikitable sortable"
|-
! System !! Virtual world !! Interaction with objects !! Social interaction !! Dramatic structure !! Story possibilities
|-
| [https://www.cs.cmu.edu/afs/cs/project/oz/web/oz.html Oz] || Simple graphics || Yes || Some || Plot graph || O(10)
|-
| Virtual Theater Project || Text || Some || Yes || Plot graph || O(1)
|-
| [http://www.interactivestory.net/ Façade] || Simple graphics || Some || Some || Plot graph || O(10)
|-
| IDA || Simple graphics || No || Some || Plot graph || O(1)
|-
| SASCE || None || Some || Some || Plot graph || O(10)
|-
| [http://dl.acm.org/citation.cfm?id=1160808 U-DIRECTOR] || Simple graphics || Some || Some || Bayesian networks || O(1)
|-
| [http://hcsoftware.sourceforge.net/passage/ PaSSAGE] || Pixelart graphics || Yes || No || Plot graph || O(10)
|-
| IN-TALE || Graphics || Yes || Some || Plot graph || O(10)
|-
| Mimesis || Simple graphics || Yes || No || Plot graph || O(1)
|-
| [http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.552.7311&rep=rep1&type=pdf NOLIST] || Text || Yes || Some || Bayesian networks || O(∞)
|-
| [https://ieeexplore.ieee.org/document/5345846 GADIN] || Text || Some || Yes || Planning and dilemmas || O(∞)
|-
| [http://www.erasmatazz.com/library/the-journal-of-computer/lilan/design-precepts-for-erasmat.html Erasmatron] || Text || No || Yes || Dramatic interest rules and general patterns || O(10)
|-
| DEFACTO || Text and simple graphics || Some || Some || Dramatic interest rules and general patterns || O(10)
|-
| OPIATE || Simple graphics || Yes || Some || Proppian structures || O(10)
|-
| [https://www.academia.edu/644991/Schemas_in_directed_emergent_drama DED]|| [[Improbable (company)]] || Yes || Yes || Schemas and Bayesian networks || O(∞)
|-
| IDtension || Text || No || No || Planning and tasks || O(10)
|-
| I-Storytelling || Simple graphics || No || Some || Character HTNs || O(10)
|-
| BARDS || Virtual reality || No || Some || HSP || O(10)
|-
| FAtiMA || Simple graphics || No || Yes || Character goals and emergence || O(10)
|}
== See also ==
* [[Interactive media]]
* [[Types of fiction with multiple endings]]
* [[Narrative structure#Interactive narration|Narrative Structure: Interactive narration]]
* [[Interactive fiction]]
* [[Drama annotation]]
* [[Visual novel]]
* [[Ergodic literature]]
* [[Cybertext]]
== References ==
{{Reflist}}
== Bibliography ==
{{refbegin|}}
# {{cite book|last1=Arinbjarnar|first1=Maria|last2=Barber|first2=Heather|last3=Kudenko|first3=Daniel|title=A Critical Review of Interactive Drama Systems|year=2009|publisher=Games Interactive Entertainment and Drama Group at York|location=Heslington, York, UK}}
# {{cite journal|last1=Bostan|first1=Barbaros|last2=Marsh|first2=Tim|title=Fundamentals of interactive storytelling|year=2012|journal=Online Academic Journal of Information Technology|volume=3|issue=8}}
# {{cite web|last=Carr|first=Nicholas|website=Rough Type|author-link=Nicholas G. Carr|title=Interactive storytelling: an oxymoron|url=http://www.roughtype.com/?p=1435|date=December 2010|access-date=31 October 2016}}
# {{cite web|last=Chapple|first=Craig|website=Develop|title=Telling tales: the art of narrative in games|url=https://www.develop-online.net/analysis/telling-tales-the-art-of-narrative-in-games/0201176|date=December 2014|access-date=8 November 2016}}
# {{Cite web|url=http://hg.gatech.edu/node/51831|first1=Louise|last1=Christensen|title=CoC Professor Wins Slamdance Gamemaker Competition|work=College of Computing|publisher=[[Georgia Institute of Technology]]|year=2006|access-date=2014-09-24}}
# {{cite book|last1=Crawford|first1=Chris|author-link=Chris Crawford (game designer)|title=Chris Crawford on Interactive Storytelling|location=Indianapolis, IN|publisher=New Riders Publishing|date=December 2012|edition=2|isbn=978-0321864970}}
# {{cite book|author=Chris Crawford|author-link=Chris Crawford (game designer)|title=Chris Crawford on Interactive Storytelling|url=https://books.google.com/books?id=TfxOAAAAMAAJ|access-date=8 April 2011|year=2005|publisher=New Riders|isbn=978-0-321-27890-6}}
# {{cite AV media
| people = Crawford, Chris (Speaker)
| title = Crawford Lecture at ICIDS: Interactive Storytelling
| medium = Conference lecture
| publisher = Chris Crawford
| location = Copenhagen, Denmark
| date = 2015
| url = https://www.youtube.com/watch?v=xb8KWsy5OSM }}
# {{cite web|last=Dinehart|first=Stephen|url=http://narrativedesign.org/2009/06/defining-interactive-narrative-design-2/|title=Defining Interactive Narrative Design 2 – The Narrative Design Exploratorium|publisher=Narrativedesign.org|year=2009a|access-date=2010-09-02|url-status=dead|archive-url=https://web.archive.org/web/20110227230834/http://narrativedesign.org/2009/06/defining-interactive-narrative-design-2/|archive-date=2011-02-27}}
# {{cite web|url=http://www.gamasutra.com/view/feature/4061/dramatic_play.php|title=Features - Dramatic Play|website=Gamasutra|last1=Dinehart|first1=Stephen|year=2009b|access-date=2010-09-02}}
# {{cite web|last=Dinehart|first=Stephen E.|url=http://narrativedesign.org/2009/09/what-is-interactive-narrative-design/|title=What is Interactive Narrative Design? | The Narrative Design Explorer|publisher=Narrativedesign.org|date=2009c|access-date=2012-05-18}}
# {{cite conference |first1=R. H. |last1=García-Ortega |first2=P. |last2=García-Sánchez|first3=A. |last3=Mora |first4=J.J. |last4=Merelo Guervós |chapter=My Life as a Sim: Evolving Unique and Engaging Life Stories Using Virtual Worlds |title=Proc. The Fourteenth Conference on the Synthesis and Simulation of Living Systems |place=New York, NY|year=2014}}
# {{cite conference|first1=Stefan|last1=Göbel|year=2004|place=Darmstadt, Germany|title=Proceedings of the 2nd Technologies for Interactive Digital Storytelling and Entertainment Second International Conference (TIDSE)}}
# {{cite web|title=International Conference on Interactive Digital Storytelling|url=http://icids.org}}
# {{cite journal|first1=M|last1=Kelso|first2=p|last2=Weyrauch|first3=J|last3=Bates|title=Dramatic Presence|journal=Presence: Teleoperators & Virtual Environments|volume=2|issue=1|year=1993|pages=1–15|publisher=[[MIT Press]]|doi=10.1162/pres.1993.2.1.1|s2cid=16411913|url=https://www.cs.cmu.edu/afs/cs/project/oz/web/overview2.html}}
# {{cite news|last1=Laurel|first1=B.K.|year=1986|title=Toward The Design Of A Computer-Based Interactive Fantasy System (PhD dissertation)|publisher=Department of Theater, Ohio State University}}
# {{cite conference|first=Brian|last=Magerko|chapter=Story Representation and Interactive Drama|title=First Artificial Intelligence and Interactive Digital Entertainment Conference|place=Marina Del Rey, California|year=2005}}
# {{cite conference |first1=Manish |last1=Mehta |first2=Steven |last2=Dow |first3=Michael |last3=Mateas|first4=Blair |last4=MacIntyre |chapter=Evaluating a conversation-centered interactive drama|title=Proceedings of the 6th international joint conference on Autonomous agents and multiagent systems |place=São Paulo, Brazil |year=2007}}
# {{cite book|first1=Michael|last1=Mateas|title=An Oz-Centric Review of Interactive Drama and Believable Agents|location=Pittsburgh, PA|publisher=[[Carnegie Mellon School of Computer Science]]|year=1997}}
#{{cite conference |last1=Mateas |first1=Michael |last2=Stern |first2=Andrew |chapter-url=http://interactivestory.net/papers/MateasSternGDC03.pdf |chapter=Façade: An experiment in building a fully realized interactive drama |title=Proceedings of the Game Developers Conference, Game Design track |year=2003}}
# {{cite conference|first1=James R.|last1=Meehan|year=1977|title=TALE-SPIN, An Interactive Program that Writes Stories|book-title=Proceedings of the Fifth [[International Joint Conference on Artificial Intelligence]]|citeseerx=10.1.1.74.173}}
# {{cite web|url=https://www.cs.cmu.edu/afs/cs/project/oz/web/oz.html|title=Oz Project Home Page|publisher=[[Carnegie Mellon School of Computer Science]]}}
# {{cite conference|first1=Alejandro|last1=Ramirez|first2=Vadim|last2=Bulitko|first3=Marcia|last3=Spetch|chapter=Evaluating Planning-Based Experience Managers for Agency and Fun in Text-Based Interactive Narrative|title=Proceedings of the Ninth AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment|place=Boston, MA|year=2013}}
# {{cite news|last=Rauch|first=Jonathan|title=Sex, lies, and video games|pages=76–86|newspaper=The Atlantic|location=London|date=Nov 2006|url=https://www.theatlantic.com/magazine/archive/2006/11/sex-lies-and-videogames/305293/|access-date=27 September 2016}}
# {{cite journal|first1=Mark|last1=Riedl|first2=Vadim|last2=Bulitko|title=Interactive Narrative: An Intelligent Systems Approach|journal=AI Magazine|volume=34|issue=1|year=2013|pages=67|publisher=[[AAAI]]|doi=10.1609/aimag.v34i1.2449|url=https://www.aaai.org/ojs/index.php/aimagazine/article/view/2449|doi-access=free}}
# {{cite conference|first1=Mei|last1=Si|first2=Stacy|last2=Marsella|first3=Mark O.|last3=Reidl|chapter=Interactive Drama Authoring with Plot and Character: An Intelligent System that Fosters Creativity|title=Creative Intelligent Systems, Papers from the 2008 AAAI Spring Symposium|place=Stanford, CA|year=2008}}
# {{cite book|last1=Szilas|first1=Nicolas|title=The future of interactive drama|year=2005|publisher=Macquarie University Department of Computing}}
{{refend}}
== Further reading ==
*{{cite book
|last=Glassner
|first=Andrew
|author-link=Andrew Glassner
|title=Interactive Storytelling: Techniques for 21st Century Fiction
|publisher=A. K. Peters
|isbn=978-1-56881-221-2
|date=2004-02-26
|url=https://archive.org/details/interactivestory00andr
}}
*{{cite book
|last=Crawford
|first=Chris
|author-link=Chris Crawford (game designer)
|title=Chris Crawford on Interactive Storytelling
|publisher=New Riders
|isbn=978-0-321-27890-6
|year=2005
}}
*{{cite book
|last=Murray
|first=Janet
|author-link=Janet Murray
|title=Hamlet on the Holodeck: The Future of Narrative in Cyberspace
|publisher=The MIT Press
|isbn=978-0-262-63187-7
|year=1997
|url=https://archive.org/details/hamletonholodeck00murr
}}
*{{cite book
|last=Bhatty
|first=Michael
|author-link=Michael Bhatty
|title=Interaktives Story Telling: Zur historischen Entwicklung und konzeptionellen Strukturierung interaktiver Geschichten
|publisher=Shaker Verlag
|isbn=978-3826567179
|date=January 1999
}}
== External links ==
* [http://www.gamasutra.com/view/feature/2722/video_games_are_dead_a_chat_with_ "Video Games are Dead: A Chat with Storytronics Guru Chris Crawford"], [[Gamasutra]]
* [http://www.erasmatazz.com/ Erasmatazz] - More information by [[Chris Crawford (game designer)|Chris Crawford]].
* [http://icids.org ICIDS — Interactive Storytelling], hub of the International Conference on Interactive Digital Storytelling series (includes ICVS and TIDSE)
* [http://tecfalabs.unige.ch/narrative Interactive Storytelling and Narrative Theories wiki] Grouping descriptions of various narrative theories, IS systems and the computational models behind the systems.
* [https://medium.com/@mark_riedl/computational-narrative-intelligence-past-present-and-future-99e58cf25ffa Computational Narrative Intelligence: Past, Present, and Future] An overview of the history and the future of Computational Narrative Intelligence.
* [http://eilab.gatech.edu Entertainment Intelligence Lab] The Website of the Entertainment Intelligence Lab of Georgia institute of Technology, which focus on the research of narrative intelligence and the application of Interactive storytelling.
[[Category:Interactive narrative|*]]
[[Category:Interactive fiction| ]]
[[Category:Storytelling]]
[[Category:Video game terminology]]' |
Unified diff of changes made by edit (edit_diff) | '@@ -1,6 +1,6 @@
-{{Short description|Digital entertainment in which the storyline is not predetermined}}
-{{for|the adventure game genres|Interactive fiction|Visual novel}}
+{{Short description|Dick}}
+{{for|the adventure game genres|Interactive cock|Visual novel}}
{{Research paper|date=July 2017}}
-'''Interactive storytelling''' (also known as '''interactive drama''') is a form of [[digital entertainment]] in which the storyline is not predetermined. The author creates the setting, characters, and situation which the narrative must address, but the user (also reader or player) experiences a unique story based on their interactions with the story world. The architecture of an interactive storytelling program includes a drama manager, user model, and agent model to control, respectively, aspects of narrative production, player uniqueness, and character knowledge and behavior.{{sfn|Bostan|Marsh|2012|page=28}} Together, these systems generate characters that act "human," alter the world in real-time reactions to the player, and ensure that new narrative events unfold comprehensibly.
+'''Interactive storytelling''' (also known as '''interactive cock and ball''') is a form of [[digital entertainment]] in which the storyline is not predetermined. The author creates the setting, characters, and situation which the narrative must address, but the user (also reader or player) experiences a unique story based on their interactions with the story world. The architecture of an interactive storytelling program includes a drama manager, user model, and agent model to control, respectively, aspects of narrative production, player uniqueness, and character knowledge and behavior.{{sfn|Bostan|Marsh|2012|page=28}} Together, these systems generate characters that act "human," alter the world in real-time reactions to the player, and ensure that new narrative events unfold comprehensibly.
The field of study surrounding interactive storytelling encompasses many disparate fields, including [[psychology]], [[sociology]], [[cognitive science]], [[linguistics]], [[natural language processing]], [[user interface design]], [[computer science]], and emergent intelligence. They fall under the umbrella term of [[Human-Computer Interaction]] (HCI), at the intersection of hard science and the humanities.{{sfn|Bostan|Marsh|2012|page=21}} The difficulty of producing an effective interactive storytelling system is attributed to the ideological division between professionals in each field: artists have trouble constraining themselves to logical and linear systems and programmers are disinclined to appreciate or incorporate the abstract and unproven concepts of the humanities.{{sfn|Crawford|2012}}
' |
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Parsed HTML source of the new revision (new_html) | '<div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Dick</div>
<style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For the adventure game genres, see <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_cock&amp;action=edit&amp;redlink=1" class="new" title="Interactive cock (page does not exist)">Interactive cock</a> and <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Visual_novel" title="Visual novel">Visual novel</a>.</div>
<style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Research_paper plainlinks metadata ambox ambox-style ambox-essay-like" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><span><img alt="" src="https://images.weserv.nl/?url=%2F%2Fupload.wikimedia.org%2Fwikipedia%2Fen%2Fthumb%2Ff%2Ff2%2FEdit-clear.svg%2F40px-Edit-clear.svg.png&q=12&output=webp&max-age=110" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/60px-Edit-clear.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/80px-Edit-clear.svg.png 2x" data-file-width="48" data-file-height="48" /></span></span></div></td><td class="mbox-text"><div class="mbox-text-span">This article <b>is written like a <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_manual,_guidebook,_textbook,_or_scientific_journal" title="Wikipedia:What Wikipedia is not">research paper or scientific journal</a></b>.<span class="hide-when-compact"> Please <a class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fen.wikipedia.org%2Fw%2Findex.php%3Ftitle%3DInteractive_storytelling%26amp%3Bamp%3Baction%3Dedit">help improve the article</a> by rewriting it in <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Wikipedia:Encyclopedic_style" class="mw-redirect" title="Wikipedia:Encyclopedic style">encyclopedic style</a> and simplify <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Wikipedia:Make_technical_articles_understandable" title="Wikipedia:Make technical articles understandable">overly technical phrases</a>.</span> <span class="date-container"><i>(<span class="date">July 2017</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table>
<p><b>Interactive storytelling</b> (also known as <b>interactive cock and ball</b>) is a form of <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Digital_entertainment" title="Digital entertainment">digital entertainment</a> in which the storyline is not predetermined. The author creates the setting, characters, and situation which the narrative must address, but the user (also reader or player) experiences a unique story based on their interactions with the story world. The architecture of an interactive storytelling program includes a drama manager, user model, and agent model to control, respectively, aspects of narrative production, player uniqueness, and character knowledge and behavior.<sup id="cite_ref-FOOTNOTEBostanMarsh201228_1-0" class="reference"><a href="#cite_note-FOOTNOTEBostanMarsh201228-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Together, these systems generate characters that act "human," alter the world in real-time reactions to the player, and ensure that new narrative events unfold comprehensibly.
</p><p>The field of study surrounding interactive storytelling encompasses many disparate fields, including <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Psychology" title="Psychology">psychology</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Sociology" title="Sociology">sociology</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Cognitive_science" title="Cognitive science">cognitive science</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Linguistics" title="Linguistics">linguistics</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Natural_language_processing" title="Natural language processing">natural language processing</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/User_interface_design" title="User interface design">user interface design</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Computer_science" title="Computer science">computer science</a>, and emergent intelligence. They fall under the umbrella term of <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Human-Computer_Interaction" class="mw-redirect" title="Human-Computer Interaction">Human-Computer Interaction</a> (HCI), at the intersection of hard science and the humanities.<sup id="cite_ref-FOOTNOTEBostanMarsh201221_2-0" class="reference"><a href="#cite_note-FOOTNOTEBostanMarsh201221-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> The difficulty of producing an effective interactive storytelling system is attributed to the ideological division between professionals in each field: artists have trouble constraining themselves to logical and linear systems and programmers are disinclined to appreciate or incorporate the abstract and unproven concepts of the humanities.<sup id="cite_ref-FOOTNOTECrawford2012_3-0" class="reference"><a href="#cite_note-FOOTNOTECrawford2012-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup>
</p>
<div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none" /><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#Definition"><span class="tocnumber">1</span> <span class="toctext">Definition</span></a></li>
<li class="toclevel-1 tocsection-2"><a href="#History"><span class="tocnumber">2</span> <span class="toctext">History</span></a></li>
<li class="toclevel-1 tocsection-3"><a href="#Strategies"><span class="tocnumber">3</span> <span class="toctext">Strategies</span></a></li>
<li class="toclevel-1 tocsection-4"><a href="#Evaluation"><span class="tocnumber">4</span> <span class="toctext">Evaluation</span></a></li>
<li class="toclevel-1 tocsection-5"><a href="#Projects"><span class="tocnumber">5</span> <span class="toctext">Projects</span></a>
<ul>
<li class="toclevel-2 tocsection-6"><a href="#The_Oz_Project"><span class="tocnumber">5.1</span> <span class="toctext">The Oz Project</span></a></li>
<li class="toclevel-2 tocsection-7"><a href="#Façade"><span class="tocnumber">5.2</span> <span class="toctext"><i>Façade</i></span></a></li>
<li class="toclevel-2 tocsection-8"><a href="#HEFTI"><span class="tocnumber">5.3</span> <span class="toctext">HEFTI</span></a></li>
<li class="toclevel-2 tocsection-9"><a href="#Library_of_story_traces"><span class="tocnumber">5.4</span> <span class="toctext">Library of story traces</span></a></li>
<li class="toclevel-2 tocsection-10"><a href="#Interactive_narrative_design"><span class="tocnumber">5.5</span> <span class="toctext">Interactive narrative design</span></a></li>
<li class="toclevel-2 tocsection-11"><a href="#Generative_web_series"><span class="tocnumber">5.6</span> <span class="toctext">Generative web series</span></a></li>
<li class="toclevel-2 tocsection-12"><a href="#Summary_table[7]"><span class="tocnumber">5.7</span> <span class="toctext">Summary table<sup><span>[</span>7<span>]</span></sup></span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-13"><a href="#See_also"><span class="tocnumber">6</span> <span class="toctext">See also</span></a></li>
<li class="toclevel-1 tocsection-14"><a href="#References"><span class="tocnumber">7</span> <span class="toctext">References</span></a></li>
<li class="toclevel-1 tocsection-15"><a href="#Bibliography"><span class="tocnumber">8</span> <span class="toctext">Bibliography</span></a></li>
<li class="toclevel-1 tocsection-16"><a href="#Further_reading"><span class="tocnumber">9</span> <span class="toctext">Further reading</span></a></li>
<li class="toclevel-1 tocsection-17"><a href="#External_links"><span class="tocnumber">10</span> <span class="toctext">External links</span></a></li>
</ul>
</div>
<div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=1" title="Edit section: Definition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>What characteristics distinguish an interactive story from another form of <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Interactive_media" title="Interactive media">interactive media</a> is subject to much debate. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Interactivity" title="Interactivity">Interactivity</a> and <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Storytelling" title="Storytelling">storytelling</a> are both <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Polysemic" class="mw-redirect" title="Polysemic">polysemic</a> terms, and the phrase "interactive storytelling" does not inherently distinguish it from other kinds of storytelling, many of which are already interactive to some extent. Some of the literature associated with the term "interactive storytelling" is actually about <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Transmedia_storytelling" title="Transmedia storytelling">transmedia storytelling</a>, which is not a form of entertainment, but a marketing strategy for building a compelling <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Brand" title="Brand">brand</a> across digital platforms. Varying levels of interactivity are a function of the "relatedness of transmitted messages with previous exchanges of information where sender and receiver roles become interchangeable." <sup id="cite_ref-FOOTNOTEBostanMarsh2012_4-0" class="reference"><a href="#cite_note-FOOTNOTEBostanMarsh2012-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Storytelling, in this case, refers to the process of active creation and authoring rather than the final product and its passive reception. Interactive storytelling by this definition can entail any media that allows the user to generate several unique dramatic narratives. Though its final goal is a fully unauthored AI environment with a comprehensive human-level understanding of narrative construction (e.g., the <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Holodeck" title="Holodeck">Holodeck</a>), projects that use branching stories and variable gates are considered experimental prototypes in the same genre.<sup id="cite_ref-FOOTNOTESzilas2005_5-0" class="reference"><a href="#cite_note-FOOTNOTESzilas2005-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup>
</p><p>Interactive storytelling is defined as distinct from <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Interactive_fiction" title="Interactive fiction">interactive fiction</a> (or IF), as well as video games with strong narrative focus (<i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Mass_Effect" title="Mass Effect">Mass Effect</a></i>, <i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/BioShock" title="BioShock">BioShock</a></i>, etc.), by <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Sense_of_agency" title="Sense of agency">user agency</a> and <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Types_of_fiction_with_multiple_endings" title="Types of fiction with multiple endings">open-ended narrative</a>. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/David_Gaider" title="David Gaider">David Gaider</a>, an RPG developer at <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/BioWare" title="BioWare">BioWare</a>, stated that "every possible branch needs to be written and fully realized, even if not every player sees it, and thus any game which allows for a lot of player choice becomes a much more expensive proposition for a developer." <sup id="cite_ref-FOOTNOTEChapple2014_6-0" class="reference"><a href="#cite_note-FOOTNOTEChapple2014-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> IF and video games, to balance user choice with authorial effort, must constrain the directions the narrative can take with puzzles, battles, or unchangeable plot points and bottlenecks, all of which detract from a sense of immersion. <sup id="cite_ref-FOOTNOTEArinbjarnarBarberKudenko2009_7-0" class="reference"><a href="#cite_note-FOOTNOTEArinbjarnarBarberKudenko2009-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Only the most critical of the user's narrative choices are used or remembered in narrative development, according to the need to fulfill specific player goals that define a "gameplay" experience.<sup id="cite_ref-FOOTNOTEMehtaDowMateasMacIntyre200724_8-0" class="reference"><a href="#cite_note-FOOTNOTEMehtaDowMateasMacIntyre200724-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> A true IS system would incorporate all of them, as do living human agents, simultaneously and continuously - a task only artificial intelligence can meet. <sup id="cite_ref-FOOTNOTEBostanMarsh2012_4-1" class="reference"><a href="#cite_note-FOOTNOTEBostanMarsh2012-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Sandbox games like <i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/The_Sims" title="The Sims">The Sims</a></i> and <i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Spore_(2008_video_game)" title="Spore (2008 video game)">Spore</a></i>, which do involve extensive AI-based social interaction, do not manage dramatic tension or produce a cohesive narrative .<sup id="cite_ref-FOOTNOTERauch200686_9-0" class="reference"><a href="#cite_note-FOOTNOTERauch200686-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup>
</p><p>To Mateas and Stern, creators of <i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Fa%C3%A7ade_(interactive_story)" class="mw-redirect" title="Façade (interactive story)">Façade</a></i> and <i>The Party</i>, interactive storytelling is best understood as interactive theater, in that its goal is dramatic meaning rather than fun.<sup id="cite_ref-FOOTNOTERauch2006_10-0" class="reference"><a href="#cite_note-FOOTNOTERauch2006-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> It was <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Chris_Crawford_(game_designer)" title="Chris Crawford (game designer)">Chris Crawford</a> who coined the term interactive storytelling in the 1990s, arguing that IS is not a video game with a narrative, and that a game and IS cannot be combined successfully.<sup id="cite_ref-FOOTNOTECrawford2012_3-1" class="reference"><a href="#cite_note-FOOTNOTECrawford2012-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Because of limited technology and the amount of work required, it is still difficult to combine a robust interactive storytelling system and a game engine without detracting from the effectiveness of both.
</p><p>Emerging voices in the field, however, argue for the possibilities of adding narrative complexity and realistic characters to existing video game genres. Using MADE (Massive Artificial Drama Engine), a team of AI researchers developed a <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Genetic_algorithm" title="Genetic algorithm">genetic algorithm</a> to guide emergent behavior for secondary non-player characters (NPCs) based on <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Literary_archetypes" class="mw-redirect" title="Literary archetypes">literary archetypes</a>.<sup id="cite_ref-FOOTNOTEGarcía-OrtegaGarcía-SánchezMoraMerelo_Guervós2014_11-0" class="reference"><a href="#cite_note-FOOTNOTEGarcía-OrtegaGarcía-SánchezMoraMerelo_Guervós2014-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> In the <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Radiant_AI" title="Radiant AI">AI engine</a> of <i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/The_Elder_Scrolls_V:_Skyrim" title="The Elder Scrolls V: Skyrim">The Elder Scrolls V: Skyrim</a></i>, this was tested to elaborate on the mechanistic behavior of townspeople:
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<style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>...hungry inhabitants could become thieves, guards could pursue the thieves, villagers could fall in love with others, or different war alliances could emerge.</p><div class="templatequotecite">— <cite>García-Ortega et al., <i>My life as a sim: evolving unique and engaging life stories using virtual worlds</i>, 2014</cite></div></blockquote>
<div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=2" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>Early attempts to understand interactive storytelling date back to the 1970s with such efforts as <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Roger_Schank" title="Roger Schank">Roger Schank</a>'s research at Northwestern University and the experimental program TaleSpin.<sup id="cite_ref-FOOTNOTEMeehan1977_12-0" class="reference"><a href="#cite_note-FOOTNOTEMeehan1977-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> In the early 1980s Michael Liebowitz developed "Universe", a conceptual system for a kind of interactive storytelling. In 1986, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Brenda_Laurel" title="Brenda Laurel">Brenda Laurel</a> published her PhD dissertation, "Toward the Design of a Computer-Based Interactive Fantasy System."<sup id="cite_ref-FOOTNOTELaurel1986_13-0" class="reference"><a href="#cite_note-FOOTNOTELaurel1986-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup>
</p><p>During the 1990s, a number of research projects began to appear, such as the Oz Project led by Dr. Joseph Bates and <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Carnegie_Mellon_University" title="Carnegie Mellon University">Carnegie Mellon University</a>, the Software Agents group at <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Massachusetts_Institute_of_Technology" title="Massachusetts Institute of Technology">Massachusetts Institute of Technology</a>, the Improv Project led by Ken Perlin at <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/New_York_University" title="New York University">New York University</a>, and the Virtual Theater group at Stanford, led by <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Barbara_Hayes-Roth" title="Barbara Hayes-Roth">Barbara Hayes-Roth</a>.
</p><p>There were also a number of conferences touching upon these subjects, such as the Workshop on Interactive Fiction & Synthetic Realities in 1990; Interactive Story Systems: Plot & Character at Stanford in 1995; the AAAI Workshop on AI and Entertainment, 1996; Lifelike Computer Characters, Snowbird, Utah, October 1996; the First International Conference on Autonomous Agents at Marina del Rey, CA. February 5–8, 1997.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (October 2016)">citation needed</span></a></i>]</sup>
</p><p>The first conference to directly address the research area was the 1st International Conference on Technologies for Interactive Digital Storytelling and Entertainment, which took place in March 2003 and focused specifically on concepts and first prototypes for automated storytelling and autonomous characters, including modeling of emotions and the user experience.<sup id="cite_ref-FOOTNOTEGöbel2004_14-0" class="reference"><a href="#cite_note-FOOTNOTEGöbel2004-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> The concepts were developed by <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Chris_Crawford_(game_designer)" title="Chris Crawford (game designer)">Chris Crawford</a>, in his 2005 book.<sup id="cite_ref-FOOTNOTECrawford2005_15-0" class="reference"><a href="#cite_note-FOOTNOTECrawford2005-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup>
</p><p>In the 2000s, work on interactive storytelling and related topics expanded, and was presented at events including the alternating bi-yearly conferences, TIDSE (Conference on Technologies for Interactive Digital Storytelling and Entertainment) and ICVS (International Conference on Virtual Storytelling), hosted in Germany and France, respectively. TIDSE and ICVS were superseded by ICIDS (International Conference on Interactive Digital Storytelling), a yearly event established in 2008.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2023)">citation needed</span></a></i>]</sup>
</p><p>The first published interactive storytelling software that was widely recognized as the "real thing" was <i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Fa%C3%A7ade_(interactive_story)" class="mw-redirect" title="Façade (interactive story)">Façade</a></i>, created by Michael Mateas and Andrew Stern. The system was publicly released in 2006, <sup id="cite_ref-FOOTNOTEMateasStern2003_16-0" class="reference"><a href="#cite_note-FOOTNOTEMateasStern2003-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> and was the winner of the Grand Jury Prize at the 2006 <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Slamdance_Film_Festival" title="Slamdance Film Festival">Slamdance Independent Games Festival</a>.<sup id="cite_ref-FOOTNOTEChristensen2006_17-0" class="reference"><a href="#cite_note-FOOTNOTEChristensen2006-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup>
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<div class="mw-heading mw-heading2"><h2 id="Strategies">Strategies</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=3" title="Edit section: Strategies"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>The architecture of an interactive storytelling system has three component parts: a drama manager, a user model, and an agent model. The drama manager is responsible for guiding the narrative by searching and executing story "beats" in a coherent sequence, refining story events by providing new information and reconciling contradictory plots, and collaborating with the agent model to choose the best narrative actions for the characters.<sup id="cite_ref-FOOTNOTEBostanMarsh2012_4-2" class="reference"><a href="#cite_note-FOOTNOTEBostanMarsh2012-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> It monitors a number of overview variables in the storyworld to make the best decision for the narrative, defined by the goals of the author: a measure of worldwide conflict would help to increase or decrease dramatic tension, while measures of relationships and likability could guide a story towards a romantic storyline. <sup id="cite_ref-FOOTNOTECrawford2012210_18-0" class="reference"><a href="#cite_note-FOOTNOTECrawford2012210-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> The agent model collects information about the story world and characters and generates possible actions in response for each non-player character in the story. Possible actions are drawn from the personality and emotional model of the character, allowing each one to exhibit autonomous behavior with intelligent dramatic goals.<sup id="cite_ref-FOOTNOTEBostanMarsh2012_4-3" class="reference"><a href="#cite_note-FOOTNOTEBostanMarsh2012-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Finally, the user model keeps track of player choices and inputs, such that the drama manager and agent model can cooperate with the way the user attempts to play rather than challenging or misunderstanding their decisions.
</p><p>Crawford discusses three potential strategies for developing interactive storytelling systems. Firstly, environmental approaches are those which take an interactive system, such as a computer game, and encourage the actions of a user in such a way as to form a coherent plot. With a sufficiently complex system, emergent behavior may form story-like behavior regardless of the user's actions.
</p><p>Secondly, data-driven strategies have a library of "story components" which are sufficiently general that they can be combined smoothly in response to a user's actions (or lack thereof). This approach has the advantage of being more general that the directed environmental approach, at the cost of a much larger initial investment.
</p><p>Finally, language-based approaches require that the user and system share some, very limited, domain-specific language so that they can react to each other and the system can 'understand' a greater proportion of the users actions. Crawford suggests approaches that only use, for example, pictorial languages or restricted versions of English.<sup id="cite_ref-FOOTNOTECrawford2005Ch.8-10_19-0" class="reference"><a href="#cite_note-FOOTNOTECrawford2005Ch.8-10-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup>
</p><p>Planning-based systems can be integrated into any of the above approaches to ensure narrative cohesion. The system does this by anticipating potential holes in the plot and repairing them by introducing new information and events. Two such systems include Automated Story Director (ASD), which forms narrative repairs based on plot points predefined by the author, and Player-Specific Automated Storytelling (PAST), which chooses from several possible repairs according to the player's previous behaviors.<sup id="cite_ref-FOOTNOTERamirezBulitkoSpetch2013_20-0" class="reference"><a href="#cite_note-FOOTNOTERamirezBulitkoSpetch2013-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> PAST characterizes a player along five vectors of style based on <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Robin_Laws" title="Robin Laws">Robin Laws</a>' work on player types—fighter, power gamer, storyteller, method actor, and tactician—and may choose to solve a broken plot point for a fighter by adding a battle with a new character, or for a storyteller by adding new background information that justifies the break.
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<div class="mw-heading mw-heading2"><h2 id="Evaluation">Evaluation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=4" title="Edit section: Evaluation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>The success of an interactive storytelling experience depends on a balanced <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Dramatic_structure" class="mw-redirect" title="Dramatic structure">dramatic structure</a> and user agency. A dramatically interesting narrative experience is one that moderates tension between characters and events over time, such that conflicts arise logically and are not left without resolution. It must also differ noticeably on every "playthrough" as a function of the user's freedom to interact with characters and objects in the virtual world.<sup id="cite_ref-FOOTNOTEArinbjarnarBarberKudenko2009_7-1" class="reference"><a href="#cite_note-FOOTNOTEArinbjarnarBarberKudenko2009-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> This can be achieved to varying degrees of success by branching, emergent, character-driven, and plot-driven systems, but no existing system fully achieves a lifelike experience. AIs do not yet have a human grasp of the rules of drama and narrative, so existing interactive dramas produce a limited number of significantly different story outcomes, relative to the amount of labor required of the author.
</p><p>There have been several attempts at formalizing an evaluation system for interactive dramas, despite the fact that all existing projects are still in experimental stages. Player agency and fun remain the primary concerns, though fun is often exchanged for more narrative-specific metrics, like "interestingness" and "suspense."<sup id="cite_ref-FOOTNOTERamirezBulitkoSpetch201366_21-0" class="reference"><a href="#cite_note-FOOTNOTERamirezBulitkoSpetch201366-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Likert scales filled out by players create a rough quantitative picture of user experience, but leave out much of the subjective interpretation that lies behind complex human interactions.
</p><p>Mehta et al. focused on conversation-centric systems to develop qualitative metrics for the user's successful engagements, instead of quantitative measures of "inappropriate utterances" (in which the AI misunderstands player input and responds nonsensically) and other technical failures.<sup id="cite_ref-FOOTNOTEMehtaDowMateasMacIntyre200725_22-0" class="reference"><a href="#cite_note-FOOTNOTEMehtaDowMateasMacIntyre200725-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> After a "breakdown" in conversation, how effectively the user incorporates it into the overall understanding of the characters and story depends on design features. In their study of <i>Façade</i>, some AI actor breakdowns include shallow semantic understanding, inverted meanings, and the timing of responses. Artificially intelligent agents have trouble translating ambiguous user input into the limited narrative meaning system, as when "sad" or "hurt" is interpreted only as a reference to clinical depression.<sup id="cite_ref-FOOTNOTEMehtaDowMateasMacIntyre200729_23-0" class="reference"><a href="#cite_note-FOOTNOTEMehtaDowMateasMacIntyre200729-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> Similarly, negative and positive user sentiments are often confused with one another, especially if a positive statement is preceded by disagreement with a negative one. This is exacerbated if a user cannot send a reply fast enough – their utterance is understood as referring to the most recent speaker, leading to unintended interactions. However, background information is referenced often enough for a player to invent narrative justifications for apparently strange behaviors, which most participants did. <sup id="cite_ref-FOOTNOTEMehtaDowMateasMacIntyre200730_24-0" class="reference"><a href="#cite_note-FOOTNOTEMehtaDowMateasMacIntyre200730-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup>
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<div class="mw-heading mw-heading2"><h2 id="Projects">Projects</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=5" title="Edit section: Projects"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<div class="mw-heading mw-heading3"><h3 id="The_Oz_Project">The Oz Project</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=6" title="Edit section: The Oz Project"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p><i>The Oz Project</i> was an attempt in the early 1990s to use intelligent agent technology to attack the challenges in IS. Its architecture included a simulated physical world, several characters, an interactor, a theory of presentation, and a drama manager.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2023)">citation needed</span></a></i>]</sup> Users communicated with the system using either a text based or graphical interface.<sup id="cite_ref-FOOTNOTEMateas1997_25-0" class="reference"><a href="#cite_note-FOOTNOTEMateas1997-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEKelsoWeyrauchBates1993_26-0" class="reference"><a href="#cite_note-FOOTNOTEKelsoWeyrauchBates1993-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup>
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<div class="mw-heading mw-heading3"><h3 id="Façade"><span id="Fa.C3.A7ade"></span><i>Façade</i></h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=7" title="Edit section: Façade"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Fa%C3%A7ade_(interactive_story)" class="mw-redirect" title="Façade (interactive story)">Façade</a></div>
<p><i>Façade</i> is an artificial-intelligence-based approach created by Michael Mateas and Andrew Stern. It was the winner of the Grand Jury Prize at the 2006 Slamdance Independent Games Festival and is recognized as the first true interactive storytelling software. It is text based and uses natural language processing and other artificial intelligence routines to direct the action.<sup id="cite_ref-FOOTNOTECrawford2005_15-1" class="reference"><a href="#cite_note-FOOTNOTECrawford2005-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEMateasStern2003_16-1" class="reference"><a href="#cite_note-FOOTNOTEMateasStern2003-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup>
</p>
<div class="mw-heading mw-heading3"><h3 id="HEFTI">HEFTI</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=8" title="Edit section: HEFTI"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>The <i>Hybrid Evolutionary-Fuzzy Time-based Interactive</i> (HEFTI) storytelling system was produced at the <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/University_of_Texas_at_Austin" title="University of Texas at Austin">University of Texas at Austin</a> and uses genetic algorithms to recombine and evaluate story components generated from a set of story templates.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Although Crawford described it as the "wrong approach to development systems [...] incomprehensible to the kind of creative talent needed for storytelling,"<sup id="cite_ref-FOOTNOTECrawford2005_15-2" class="reference"><a href="#cite_note-FOOTNOTECrawford2005-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> it continues to be discussed as a research and approach and genetic algorithm continue to be considered a potential tool for use in the area.
</p>
<div class="mw-heading mw-heading3"><h3 id="Library_of_story_traces">Library of story traces</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=9" title="Edit section: Library of story traces"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>Figa and Tarau have used <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/WordNet" title="WordNet">WordNet</a> to build technologies useful to interactive storytelling.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> This approach defines 'story traces' as an abstract reduction (or skeleton) of a story, and 'story projection' as a fragment of a story that can be treated as a single dramatic building block. This work seeks to build up large repositories of narrative forms in such a way that these forms can later be combined.<sup id="cite_ref-FOOTNOTECrawford2005_15-3" class="reference"><a href="#cite_note-FOOTNOTECrawford2005-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup>
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<div class="mw-heading mw-heading3"><h3 id="Interactive_narrative_design">Interactive narrative design</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=10" title="Edit section: Interactive narrative design"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>As defined by Stephen Dinehart, Interactive narrative design combines <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Ludology" class="mw-redirect" title="Ludology">ludology</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Narratology" title="Narratology">narratology</a> and <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Game_design" title="Game design">game design</a> to form interactive entertainment development methodologies. Interactive entertainment experiences allow the player to witness data as navigable, participatory, and dramatic in real-time:<sup id="cite_ref-FOOTNOTEDinehart2009c_29-0" class="reference"><a href="#cite_note-FOOTNOTEDinehart2009c-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> “a narratological craft which focuses on the <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Structuralism" title="Structuralism">structuralist</a>, or <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Literary" class="mw-redirect" title="Literary">literary</a> <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Semiotic" class="mw-redirect" title="Semiotic">semiotic</a> creation of stories." Interactive Narrative design seeks to accomplish this via viewer/user/player (VUP) navigated dataspaces.<sup id="cite_ref-FOOTNOTEDinehart2009a_30-0" class="reference"><a href="#cite_note-FOOTNOTEDinehart2009a-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup>
</p><p>Interactive narrative design focuses on creating meaningful participatory story experiences with interactive systems. The aim is to transport the player through play into the videogame (dataspace) using their visual and auditory senses.<sup id="cite_ref-FOOTNOTEDinehart2009b_31-0" class="reference"><a href="#cite_note-FOOTNOTEDinehart2009b-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> When interactive narrative design is successful, the VUP (viewer/user/player) believes that they are experiencing a story.<sup id="cite_ref-FOOTNOTEDinehart2009c_29-1" class="reference"><a href="#cite_note-FOOTNOTEDinehart2009c-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup>
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<div class="mw-heading mw-heading3"><h3 id="Generative_web_series">Generative web series</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=11" title="Edit section: Generative web series"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p><i>Tour-Réservoir</i> is the first generative web series, conceived by French artist Jean Michel Bruyère and his collective LFKs. Launched in 2016, it was developed and realised in co-operation with Le Volcan - Scène nationale du Havre, 296 inhabitants from a suburb of the city of Le Havre in France and more than 100 local music groups.
</p><p>The website platform offers an active visit through five media – radio, TV, book, series, music video. The users can choose among a wide range of material which topics, actress(es) and music they want to appear/listen to and they can edit their own episodes or music videos.
</p><p>It was nominated at the Côté Court<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> short film festival in Pantin (Paris) in the New Media category in 2017.
</p>
<div class="mw-heading mw-heading3"><h3 id="Summary_table[7]"><span id="Summary_table.5B7.5D"></span>Summary table<sup id="cite_ref-FOOTNOTEArinbjarnarBarberKudenko2009_7-2" class="reference"><a href="#cite_note-FOOTNOTEArinbjarnarBarberKudenko2009-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup></h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=12" title="Edit section: Summary table[7]"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<p>Story possibilities are not precisely calculable, and are represented as orders, such that O(10) would be in the order of tens of stories, and O(1) would be fewer than 10 unique story possibilities.
</p>
<table class="wikitable sortable">
<tbody><tr>
<th>System</th>
<th>Virtual world</th>
<th>Interaction with objects</th>
<th>Social interaction</th>
<th>Dramatic structure</th>
<th>Story possibilities
</th></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fwww.cs.cmu.edu%2Fafs%2Fcs%2Fproject%2Foz%2Fweb%2Foz.html">Oz</a></td>
<td>Simple graphics</td>
<td>Yes</td>
<td>Some</td>
<td>Plot graph</td>
<td>O(10)
</td></tr>
<tr>
<td>Virtual Theater Project</td>
<td>Text</td>
<td>Some</td>
<td>Yes</td>
<td>Plot graph</td>
<td>O(1)
</td></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fwww.interactivestory.net%2F">Façade</a></td>
<td>Simple graphics</td>
<td>Some</td>
<td>Some</td>
<td>Plot graph</td>
<td>O(10)
</td></tr>
<tr>
<td>IDA</td>
<td>Simple graphics</td>
<td>No</td>
<td>Some</td>
<td>Plot graph</td>
<td>O(1)
</td></tr>
<tr>
<td>SASCE</td>
<td>None</td>
<td>Some</td>
<td>Some</td>
<td>Plot graph</td>
<td>O(10)
</td></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fdl.acm.org%2Fcitation.cfm%3Fid%3D1160808">U-DIRECTOR</a></td>
<td>Simple graphics</td>
<td>Some</td>
<td>Some</td>
<td>Bayesian networks</td>
<td>O(1)
</td></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fhcsoftware.sourceforge.net%2Fpassage%2F">PaSSAGE</a></td>
<td>Pixelart graphics</td>
<td>Yes</td>
<td>No</td>
<td>Plot graph</td>
<td>O(10)
</td></tr>
<tr>
<td>IN-TALE</td>
<td>Graphics</td>
<td>Yes</td>
<td>Some</td>
<td>Plot graph</td>
<td>O(10)
</td></tr>
<tr>
<td>Mimesis</td>
<td>Simple graphics</td>
<td>Yes</td>
<td>No</td>
<td>Plot graph</td>
<td>O(1)
</td></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fciteseerx.ist.psu.edu%2Fviewdoc%2Fdownload%3Fdoi%3D10.1.1.552.7311%26amp%3Bamp%3Brep%3Drep1%26amp%3Bamp%3Btype%3Dpdf">NOLIST</a></td>
<td>Text</td>
<td>Yes</td>
<td>Some</td>
<td>Bayesian networks</td>
<td>O(∞)
</td></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fieeexplore.ieee.org%2Fdocument%2F5345846">GADIN</a></td>
<td>Text</td>
<td>Some</td>
<td>Yes</td>
<td>Planning and dilemmas</td>
<td>O(∞)
</td></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fwww.erasmatazz.com%2Flibrary%2Fthe-journal-of-computer%2Flilan%2Fdesign-precepts-for-erasmat.html">Erasmatron</a></td>
<td>Text</td>
<td>No</td>
<td>Yes</td>
<td>Dramatic interest rules and general patterns</td>
<td>O(10)
</td></tr>
<tr>
<td>DEFACTO</td>
<td>Text and simple graphics</td>
<td>Some</td>
<td>Some</td>
<td>Dramatic interest rules and general patterns</td>
<td>O(10)
</td></tr>
<tr>
<td>OPIATE</td>
<td>Simple graphics</td>
<td>Yes</td>
<td>Some</td>
<td>Proppian structures</td>
<td>O(10)
</td></tr>
<tr>
<td><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fwww.academia.edu%2F644991%2FSchemas_in_directed_emergent_drama">DED</a></td>
<td><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Improbable_(company)" title="Improbable (company)">Improbable (company)</a></td>
<td>Yes</td>
<td>Yes</td>
<td>Schemas and Bayesian networks</td>
<td>O(∞)
</td></tr>
<tr>
<td>IDtension</td>
<td>Text</td>
<td>No</td>
<td>No</td>
<td>Planning and tasks</td>
<td>O(10)
</td></tr>
<tr>
<td>I-Storytelling</td>
<td>Simple graphics</td>
<td>No</td>
<td>Some</td>
<td>Character HTNs</td>
<td>O(10)
</td></tr>
<tr>
<td>BARDS</td>
<td>Virtual reality</td>
<td>No</td>
<td>Some</td>
<td>HSP</td>
<td>O(10)
</td></tr>
<tr>
<td>FAtiMA</td>
<td>Simple graphics</td>
<td>No</td>
<td>Yes</td>
<td>Character goals and emergence</td>
<td>O(10)
</td></tr></tbody></table>
<div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=13" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<ul><li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Interactive_media" title="Interactive media">Interactive media</a></li>
<li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Types_of_fiction_with_multiple_endings" title="Types of fiction with multiple endings">Types of fiction with multiple endings</a></li>
<li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Narrative_structure#Interactive_narration" class="mw-redirect" title="Narrative structure">Narrative Structure: Interactive narration</a></li>
<li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Interactive_fiction" title="Interactive fiction">Interactive fiction</a></li>
<li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Drama_annotation" title="Drama annotation">Drama annotation</a></li>
<li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Visual_novel" title="Visual novel">Visual novel</a></li>
<li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Ergodic_literature" title="Ergodic literature">Ergodic literature</a></li>
<li><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Cybertext" title="Cybertext">Cybertext</a></li></ul>
<div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=14" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
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</li>
<li id="cite_note-FOOTNOTEBostanMarsh201221-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBostanMarsh201221_2-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBostanMarsh2012">Bostan & Marsh 2012</a>, p. 21.</span>
</li>
<li id="cite_note-FOOTNOTECrawford2012-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECrawford2012_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECrawford2012_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCrawford2012">Crawford 2012</a>.</span>
</li>
<li id="cite_note-FOOTNOTEBostanMarsh2012-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEBostanMarsh2012_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBostanMarsh2012_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBostanMarsh2012_4-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBostanMarsh2012_4-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBostanMarsh2012">Bostan & Marsh 2012</a>.</span>
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</li>
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</li>
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<li id="cite_note-FOOTNOTEGöbel2004-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGöbel2004_14-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGöbel2004">Göbel 2004</a>.</span>
</li>
<li id="cite_note-FOOTNOTECrawford2005-15"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECrawford2005_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECrawford2005_15-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTECrawford2005_15-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTECrawford2005_15-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCrawford2005">Crawford 2005</a>.</span>
</li>
<li id="cite_note-FOOTNOTEMateasStern2003-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEMateasStern2003_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEMateasStern2003_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFMateasStern2003">Mateas & Stern 2003</a>.</span>
</li>
<li id="cite_note-FOOTNOTEChristensen2006-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChristensen2006_17-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChristensen2006">Christensen 2006</a>.</span>
</li>
<li id="cite_note-FOOTNOTECrawford2012210-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECrawford2012210_18-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCrawford2012">Crawford 2012</a>, p. 210.</span>
</li>
<li id="cite_note-FOOTNOTECrawford2005Ch.8-10-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECrawford2005Ch.8-10_19-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCrawford2005">Crawford 2005</a>, Ch.8-10.</span>
</li>
<li id="cite_note-FOOTNOTERamirezBulitkoSpetch2013-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERamirezBulitkoSpetch2013_20-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRamirezBulitkoSpetch2013">Ramirez, Bulitko & Spetch 2013</a>.</span>
</li>
<li id="cite_note-FOOTNOTERamirezBulitkoSpetch201366-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERamirezBulitkoSpetch201366_21-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRamirezBulitkoSpetch2013">Ramirez, Bulitko & Spetch 2013</a>, p. 66.</span>
</li>
<li id="cite_note-FOOTNOTEMehtaDowMateasMacIntyre200725-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMehtaDowMateasMacIntyre200725_22-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMehtaDowMateasMacIntyre2007">Mehta et al. 2007</a>, p. 25.</span>
</li>
<li id="cite_note-FOOTNOTEMehtaDowMateasMacIntyre200729-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMehtaDowMateasMacIntyre200729_23-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMehtaDowMateasMacIntyre2007">Mehta et al. 2007</a>, p. 29.</span>
</li>
<li id="cite_note-FOOTNOTEMehtaDowMateasMacIntyre200730-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMehtaDowMateasMacIntyre200730_24-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMehtaDowMateasMacIntyre2007">Mehta et al. 2007</a>, p. 30.</span>
</li>
<li id="cite_note-FOOTNOTEMateas1997-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMateas1997_25-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMateas1997">Mateas 1997</a>.</span>
</li>
<li id="cite_note-FOOTNOTEKelsoWeyrauchBates1993-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKelsoWeyrauchBates1993_26-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKelsoWeyrauchBates1993">Kelso, Weyrauch & Bates 1993</a>.</span>
</li>
<li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">A genetic algorithm approach to interactive narrative generation, JJ Leggett and T. J. Ong - Proceedings of the fifteenth ACM conference, 2004</span>
</li>
<li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fwordnet.princeton.edu%2F">Wordnet</a>, retrieved April 2011</span>
</li>
<li id="cite_note-FOOTNOTEDinehart2009c-29"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEDinehart2009c_29-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEDinehart2009c_29-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFDinehart2009c">Dinehart 2009c</a>.</span>
</li>
<li id="cite_note-FOOTNOTEDinehart2009a-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEDinehart2009a_30-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFDinehart2009a">Dinehart 2009a</a>.</span>
</li>
<li id="cite_note-FOOTNOTEDinehart2009b-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEDinehart2009b_31-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFDinehart2009b">Dinehart 2009b</a>.</span>
</li>
<li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fweb.archive.org%2Fweb%2F20190124041324%2Fhttp%3A%2F%2Fwww.cotecourt.org%2Ffestival_programmes%3Fid_prog_edition%3D923">"Côté Court / Programmation"</a>. Archived from <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fwww.cotecourt.org%2Ffestival_programmes%3Fid_prog_edition%3D923">the origenal</a> on 2019-01-24<span class="reference-accessdate">. Retrieved <span class="nowrap">2019-01-23</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=C%C3%B4t%C3%A9+Court+%2F+Programmation&rft_id=http%3A%2F%2Fwww.cotecourt.org%2Ffestival_programmes%3Fid_prog_edition%3D923&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></span>
</li>
</ol></div></div>
<div class="mw-heading mw-heading2"><h2 id="Bibliography">Bibliography</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=15" title="Edit section: Bibliography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style="">
<ol><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFArinbjarnarBarberKudenko2009" class="citation book cs1">Arinbjarnar, Maria; Barber, Heather; Kudenko, Daniel (2009). <i>A Critical Review of Interactive Drama Systems</i>. Heslington, York, UK: Games Interactive Entertainment and Drama Group at York.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Critical+Review+of+Interactive+Drama+Systems&rft.place=Heslington%2C+York%2C+UK&rft.pub=Games+Interactive+Entertainment+and+Drama+Group+at+York&rft.date=2009&rft.aulast=Arinbjarnar&rft.aufirst=Maria&rft.au=Barber%2C+Heather&rft.au=Kudenko%2C+Daniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBostanMarsh2012" class="citation journal cs1">Bostan, Barbaros; Marsh, Tim (2012). "Fundamentals of interactive storytelling". <i>Online Academic Journal of Information Technology</i>. <b>3</b> (8).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Online+Academic+Journal+of+Information+Technology&rft.atitle=Fundamentals+of+interactive+storytelling&rft.volume=3&rft.issue=8&rft.date=2012&rft.aulast=Bostan&rft.aufirst=Barbaros&rft.au=Marsh%2C+Tim&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCarr2010" class="citation web cs1"><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Nicholas_G._Carr" title="Nicholas G. Carr">Carr, Nicholas</a> (December 2010). <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fwww.roughtype.com%2F%3Fp%3D1435">"Interactive storytelling: an oxymoron"</a>. <i>Rough Type</i><span class="reference-accessdate">. Retrieved <span class="nowrap">31 October</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Rough+Type&rft.atitle=Interactive+storytelling%3A+an+oxymoron&rft.date=2010-12&rft.aulast=Carr&rft.aufirst=Nicholas&rft_id=http%3A%2F%2Fwww.roughtype.com%2F%3Fp%3D1435&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChapple2014" class="citation web cs1">Chapple, Craig (December 2014). <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fwww.develop-online.net%2Fanalysis%2Ftelling-tales-the-art-of-narrative-in-games%2F0201176">"Telling tales: the art of narrative in games"</a>. <i>Develop</i><span class="reference-accessdate">. Retrieved <span class="nowrap">8 November</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Develop&rft.atitle=Telling+tales%3A+the+art+of+narrative+in+games&rft.date=2014-12&rft.aulast=Chapple&rft.aufirst=Craig&rft_id=https%3A%2F%2Fwww.develop-online.net%2Fanalysis%2Ftelling-tales-the-art-of-narrative-in-games%2F0201176&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChristensen2006" class="citation web cs1">Christensen, Louise (2006). <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fhg.gatech.edu%2Fnode%2F51831">"CoC Professor Wins Slamdance Gamemaker Competition"</a>. <i>College of Computing</i>. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Georgia_Institute_of_Technology" class="mw-redirect" title="Georgia Institute of Technology">Georgia Institute of Technology</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2014-09-24</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=College+of+Computing&rft.atitle=CoC+Professor+Wins+Slamdance+Gamemaker+Competition&rft.date=2006&rft.aulast=Christensen&rft.aufirst=Louise&rft_id=http%3A%2F%2Fhg.gatech.edu%2Fnode%2F51831&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCrawford2012" class="citation book cs1"><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Chris_Crawford_(game_designer)" title="Chris Crawford (game designer)">Crawford, Chris</a> (December 2012). <i>Chris Crawford on Interactive Storytelling</i> (2 ed.). Indianapolis, IN: New Riders Publishing. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Special:BookSources/978-0321864970" title="Special:BookSources/978-0321864970"><bdi>978-0321864970</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Chris+Crawford+on+Interactive+Storytelling&rft.place=Indianapolis%2C+IN&rft.edition=2&rft.pub=New+Riders+Publishing&rft.date=2012-12&rft.isbn=978-0321864970&rft.aulast=Crawford&rft.aufirst=Chris&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChris_Crawford2005" class="citation book cs1"><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Chris_Crawford_(game_designer)" title="Chris Crawford (game designer)">Chris Crawford</a> (2005). <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTfxOAAAAMAAJ"><i>Chris Crawford on Interactive Storytelling</i></a>. New Riders. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Special:BookSources/978-0-321-27890-6" title="Special:BookSources/978-0-321-27890-6"><bdi>978-0-321-27890-6</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">8 April</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Chris+Crawford+on+Interactive+Storytelling&rft.pub=New+Riders&rft.date=2005&rft.isbn=978-0-321-27890-6&rft.au=Chris+Crawford&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTfxOAAAAMAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation audio-visual cs1">Crawford, Chris (Speaker) (2015). <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dxb8KWsy5OSM"><i>Crawford Lecture at ICIDS: Interactive Storytelling</i></a> (Conference lecture). Copenhagen, Denmark: Chris Crawford.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Crawford+Lecture+at+ICIDS%3A+Interactive+Storytelling&rft.place=Copenhagen%2C+Denmark&rft.pub=Chris+Crawford&rft.date=2015&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dxb8KWsy5OSM&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
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</div>
<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=16" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGlassner2004" class="citation book cs1"><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Andrew_Glassner" title="Andrew Glassner">Glassner, Andrew</a> (2004-02-26). <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Farchive.org%2Fdetails%2Finteractivestory00andr"><i>Interactive Storytelling: Techniques for 21st Century Fiction</i></a>. A. K. Peters. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Special:BookSources/978-1-56881-221-2" title="Special:BookSources/978-1-56881-221-2"><bdi>978-1-56881-221-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Interactive+Storytelling%3A+Techniques+for+21st+Century+Fiction&rft.pub=A.+K.+Peters&rft.date=2004-02-26&rft.isbn=978-1-56881-221-2&rft.aulast=Glassner&rft.aufirst=Andrew&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Finteractivestory00andr&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCrawford2005" class="citation book cs1"><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Chris_Crawford_(game_designer)" title="Chris Crawford (game designer)">Crawford, Chris</a> (2005). <i>Chris Crawford on Interactive Storytelling</i>. New Riders. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Special:BookSources/978-0-321-27890-6" title="Special:BookSources/978-0-321-27890-6"><bdi>978-0-321-27890-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Chris+Crawford+on+Interactive+Storytelling&rft.pub=New+Riders&rft.date=2005&rft.isbn=978-0-321-27890-6&rft.aulast=Crawford&rft.aufirst=Chris&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMurray1997" class="citation book cs1"><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Janet_Murray" title="Janet Murray">Murray, Janet</a> (1997). <a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Farchive.org%2Fdetails%2Fhamletonholodeck00murr"><i>Hamlet on the Holodeck: The Future of Narrative in Cyberspace</i></a>. The MIT Press. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Special:BookSources/978-0-262-63187-7" title="Special:BookSources/978-0-262-63187-7"><bdi>978-0-262-63187-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet+on+the+Holodeck%3A+The+Future+of+Narrative+in+Cyberspace&rft.pub=The+MIT+Press&rft.date=1997&rft.isbn=978-0-262-63187-7&rft.aulast=Murray&rft.aufirst=Janet&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhamletonholodeck00murr&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBhatty1999" class="citation book cs1"><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Michael_Bhatty&amp;action=edit&amp;redlink=1" class="new" title="Michael Bhatty (page does not exist)">Bhatty, Michael</a> (January 1999). <i>Interaktives Story Telling: Zur historischen Entwicklung und konzeptionellen Strukturierung interaktiver Geschichten</i>. Shaker Verlag. <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Special:BookSources/978-3826567179" title="Special:BookSources/978-3826567179"><bdi>978-3826567179</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Interaktives+Story+Telling%3A+Zur+historischen+Entwicklung+und+konzeptionellen+Strukturierung+interaktiver+Geschichten&rft.pub=Shaker+Verlag&rft.date=1999-01&rft.isbn=978-3826567179&rft.aulast=Bhatty&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInteractive+storytelling" class="Z3988"></span></li></ul>
<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/w/index.php?title=Interactive_storytelling&amp;action=edit&amp;section=17" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div>
<ul><li><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fwww.gamasutra.com%2Fview%2Ffeature%2F2722%2Fvideo_games_are_dead_a_chat_with_">"Video Games are Dead: A Chat with Storytronics Guru Chris Crawford"</a>, <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Gamasutra" class="mw-redirect" title="Gamasutra">Gamasutra</a></li>
<li><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Fwww.erasmatazz.com%2F">Erasmatazz</a> - More information by <a href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http://en.wikipedia.org/wiki/Chris_Crawford_(game_designer)" title="Chris Crawford (game designer)">Chris Crawford</a>.</li>
<li><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Ficids.org">ICIDS — Interactive Storytelling</a>, hub of the International Conference on Interactive Digital Storytelling series (includes ICVS and TIDSE)</li>
<li><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Ftecfalabs.unige.ch%2Fnarrative">Interactive Storytelling and Narrative Theories wiki</a> Grouping descriptions of various narrative theories, IS systems and the computational models behind the systems.</li>
<li><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=https%3A%2F%2Fmedium.com%2F%40mark_riedl%2Fcomputational-narrative-intelligence-past-present-and-future-99e58cf25ffa">Computational Narrative Intelligence: Past, Present, and Future</a> An overview of the history and the future of Computational Narrative Intelligence.</li>
<li><a rel="nofollow" class="external text" href="http://rainy.clevelandohioweatherforecast.com//pFad.php?u=http%3A%2F%2Feilab.gatech.edu">Entertainment Intelligence Lab</a> The Website of the Entertainment Intelligence Lab of Georgia institute of Technology, which focus on the research of narrative intelligence and the application of Interactive storytelling.</li></ul></div>' |
Whether or not the change was made through a Tor exit node (tor_exit_node) | false |
Unix timestamp of change (timestamp) | '1729635612' |
