1. LCC 6317/4720 Interactive Narrative Lecture 6 February 8, 2005

2. Simulation vs. representation Frasca is using the term “representation” to refer to fixed collections of signs (syntagms) Frasca is using the term “representation” to refer to fixed collections of signs (syntagms) Narrative is a special case of a fixed collection of signs representing a temporal sequence of events Simulations, on the other hand, are syntagmatically generative – there’s no preexisting fixed sequence Simulations, on the other hand, are syntagmatically generative – there’s no preexisting fixed sequence A particular runthrough of a simulation can be narrated (higher-order narrative ala Ryan)

3. Dangers with “simulation” Simulation: “A simulation is a model of system A by a less complex system B, which retains some of A’s original behavior.” Simulation: “A simulation is a model of system A by a less complex system B, which retains some of A’s original behavior.” A behavioral simplification of, typically, a real-world system In science, “simulations” generally have one-to-one relationships with a real-world system, and are used predicatively In science, “simulations” generally have one-to-one relationships with a real-world system, and are used predicatively Here Frasca doesn’t mean “simulation” in this sense – it’s a procedural, behavioral system Here Frasca doesn’t mean “simulation” in this sense – it’s a procedural, behavioral system What is the world of Super Mario Brothers a simulation of (ie. what is the referent?)

4. So simulation is a species of representation Just as arbitrary relationships can be established be signifier and signified (style, symbolism), so to with procedural representations Just as arbitrary relationships can be established be signifier and signified (style, symbolism), so to with procedural representations Procedural representations (simulations) are syntagmatically generative representations (no fixed constellation or sequence of signs) Procedural representations (simulations) are syntagmatically generative representations (no fixed constellation or sequence of signs) The lesson for interactive narrative: focus on the procedural meta-narrative, not on narrative The lesson for interactive narrative: focus on the procedural meta-narrative, not on narrative

5. Leveraging story knowlege Environmental storytelling Environmental storytelling Build narrative spaces that leverage the player’s story knowledge Spatial stories Spatial stories Stories where the essence is movement through space (e.g. a quest) Zork, and classic adventures, are an example Where’s the storyness? Leverages the player’s understanding of quests

6. Story leveraging strategies Evocative stories – evoke an existing narrative, even if the game itself doesn’t tell a narrative Evocative stories – evoke an existing narrative, even if the game itself doesn’t tell a narrative Example: various Star Wars games, American McGee’s Alice, … Enacting stories – quest stories and micro- narratives Enacting stories – quest stories and micro- narratives Declares standard “movement-though-space” games as already narrative Crawford believes these are failed strategies

7. More story leveraging strategies Embedded narrative – narrative as backstory that is unlocked through the player’s actions Embedded narrative – narrative as backstory that is unlocked through the player’s actions Games contain two narratives – the unstructured narrative created through player action, and the revelation of a structured, authored narrative (ergodics) Examples: Myst, Half-Life Emergent narratives Emergent narratives Game space affords emergent storytelling by the player (canonical example, The Sims)

8. A cognitive approach to narrative Environmental strategies move away from narrative as global structure to narrative as knowledge and cognition Environmental strategies move away from narrative as global structure to narrative as knowledge and cognition Build stories that leverage story knowledge and schemas Build stories that leverage story knowledge and schemas Plots Specific story worlds Character types Situations

9. Let’s kiss and make up Games have both narrative and gameplay elements Games have both narrative and gameplay elements The question is which approaches (e.g. games as simulation, games as narrative), opens up the richest analysis and design space The question is which approaches (e.g. games as simulation, games as narrative), opens up the richest analysis and design space When narrativists say “games are narrative”, they need to define what they mean by narrative When narrativists say “games are narrative”, they need to define what they mean by narrative The narrativity design dimension It does seem that, as long as the game doesn’t exhibit global agency (the narrative itself being responsive to interaction), narrative won’t be a primary analytical or design category for games It does seem that, as long as the game doesn’t exhibit global agency (the narrative itself being responsive to interaction), narrative won’t be a primary analytical or design category for games

10. Interactive stories != game + story Crawford’s definition of game: “A form of interactive entertainment involving simple and/or violent themes, relying heavily on cosmetic factors, in which players must exercise precise hand-eye coordination, puzzle solution, and resource management skills.” The stuff in red is counter to the essence of stories.

11. Plot and interactivity are incompatible This issue lies at the heart of the ludology/narratology debate This issue lies at the heart of the ludology/narratology debate A plot has always already happened, it’s a fixed structure A plot has always already happened, it’s a fixed structure Interactivity requires being able to make choices that matter Interactivity requires being able to make choices that matter The way out: Interactive storytellers shouldn’t specify a plot, they should specify a meta-plot from which plot is generated in response to interactivity The way out: Interactive storytellers shouldn’t specify a plot, they should specify a meta-plot from which plot is generated in response to interactivity Focus on procedural description (e.g. rules) rather than structural description (e.g. sequences of events)

12. Give the player interesting decisions In a story world, what does the player do? Answer: They make dramatically interesting decisions In a story world, what does the player do? Answer: They make dramatically interesting decisions The story-world consists of closely balanced decisions that could reasonably go either way The story-world consists of closely balanced decisions that could reasonably go either way Boring choices are eliminated (leads Chris to his discrete- choice model) Boring choices are eliminated (leads Chris to his discrete- choice model) Focus on building a storyworld rather than a storyline Focus on building a storyworld rather than a storyline

13. Atoms of storytelling The segmentation design dimension captures the design choice of story units (what is the generated story made out of) The segmentation design dimension captures the design choice of story units (what is the generated story made out of) The Erasmatron uses substories – single dramatic steps Façade uses a hierarchy of units, including dramatic beats, joint dialog behaviors, etc. As we’ll see later in the semester, AI-based approaches to story generation give us a rich menu of possible story units Need to select the right atoms of storytelling Need to select the right atoms of storytelling Story worlds can’t provide the “third option” Story worlds can’t provide the “third option” But maybe interaction shouldn’t consist of simple menu choices Story-worlds must be discrete time. I don’t agree. Story-worlds must be discrete time. I don’t agree.