1. Narratology and genre in interactive TV drama Janet Finlay Leeds Metropolitan University j.finlay@leedsmet.ac.uk

2. Why look to the humanities? Shifts in focus in HCI –from work to leisure, entertainment, art, fun –from task/goal-orientation to exploration, community, identity –from usability to user experience…. HCI by nature multidisciplinary - humanities have long experience in these areas and seem an appropriate partner...

3. Genre “Genres are not just forms…..Genres shape the thoughts we form and the communications by which we interact. Genres are the familiar places we go to create intelligible communicative action with each other and the guideposts we use to explore the unfamiliar.” Bazerman Guide user expectation

4. A key distinction... Autonomous genres –engagement through quality of product –process largely invisible novel play film soap opera documentary Participative genres –engagement is through taking part –process is key to enjoyment game virtual community improvisation drama interactive writing information service

5. Narratology Narratology applies our understanding of narrative to cultural artefacts in any medium Various narrative components: –Story - sequence of events - episodic –Plot - how the story is told - constructed –Character - agent or beneficiary of events –Narration - 1st/3rd person, overt/covert –Producer - Receiver

6. Narrative Levels producerreceiver narratoraddressee character Level of action Level of fictional mediation & discourse Level of non-fictional communication

7. Narrative Levels Shift between these levels (metalepsis) - interrupts narrative flow Breaks “suspension of disbelief” Can be deliberate and self conscious (e.g. Brecht) Potential shifts –receiver also character –character interacts with receiver etc.

8. Narrative level shifts producer narratoraddressee character Level of action Level of fictional mediation & discourse Level of non-fictional communication receiver

9. A model of dramatic narrative (Laurel on Aristotle) Action (plot) Character Thought Language (diction) Pattern Enactment (spectacle) Material Cause Formal cause

10. And another... Murray (Hamlet on the Holodeck) Phenomenological view –key element: agency be able to act with intent action to have effect –also immersion transformation

11. Combine for interactive drama (Mateas) Action (plot) Character Thought Language (diction) Pattern Enactment (spectacle) Material Cause Formal cause Material for action User intention User action

12. Agency Agency is key to interactive dramatic experience Agency NOT equivalent to interactivity Agency is having an intentional effect on events - WITHIN the constraints of the narrative Agency requires balance of formal/material constraints

13. Reviewing interactive drama Adding supporting informational and game element e.g. CSI, Eastenders –mixing participative with autonomous genres –shift in narrative level –no agency Keep separate

14. Reviewing interactive drama Narrative stops and invites viewer to act –mix participative and autonomous genres –shift in narrative level –limited agency - press the red button Viewer moves between narrative streams –autonomous genre –no shift in narrative level –limited agency

15. Reviewing interactive drama POV of a character –no shift in narrative level –maintains narrative structure –no genre conflicts - limited agency Following threads –moves narrative to sub-level –no genre conflicts - limited agency –no shift in narrative level

16. Reviewing interactive drama Viewer IS character (e.g. Façade - Mateas) –True agency - narrative structure guides what is possible –Becomes participative only –All at action level

17. To conclude: suggestions for interactive drama Avoid genre type clashes Facilitate agency Avoid shifts in narrative level Support narrative structure Constrain action to material for action Enable closure - unified whole