This book constitutes the refereed proceedings of the 15th International Conference on Interactive Digital Storytelling, ICIDS 2022, held in Santa Cruz, CA, USA, in December 2022.The 30 full papers and 10 short papers, presented together with 17 posters and demos, were carefully reviewed and selected from 79 submissions.
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The 18 full papers and 17 short papers, presented together with 17 posters and demos, were carefully reviewed and selected from 99 submissions. The papers are categorized into the following topical sub-headings: Narrative Systems; Interactive Narrative Theory; Interactive Narrative Impact and Application; and the Interactive Narrative Research Discipline and Contemporary Practice
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Over the past decade, journalists have created in-depth interactive narratives to provide an alternative to the relentless 24-hour news cycle. Combining different media forms, such as text, audio, video, and data visualisation with the interactive possibilities of digital media, these narratives involve users in the narrative in new ways. In journalism studies, the convergence of different media forms in this manner has gained significant attention. However, interactivity as part of this form has been left underappreciated. In this study, we scrutinise how navigational structure, expressed as navigational cues, shapes user agency in their individual explorations of the narrative. By approaching interactive narratives as story spaces with unique interactive architectures, in this article, we reconstruct the architecture of five Dutch interactive narratives using the walkthrough method. We find that the extensiveness of the interactive architectures can be described on a continuum between closed and open navigational structures that predetermine and thus shape users’ trajectories in diverse ways.
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Innovations in digital storytelling techniques have spurred on the development of new journalistic and audience practices. The production processes of interactive and immersive journalistic narratives are highly technological and require specialist knowledge of both journalism and design, and require producers to consider how audience engagement and user activity both fit into their story. The resulting narratives redefine the boundaries of what is considered a journalistic production, often requiring users to act within the story, thereby challenging the existing author-user relationship. In this chapter we discuss how the boundaries of journalism are redefined or blurred during both the production and reception processes of interactive, immersive journalism.
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Ga in gesprek met ooggetuigen van de Tweede Wereldoorlog ín oorlogstijd bij Erfgoed ’s-Hertogenbosch vanaf 16 november. Via interactieve portretten sta je oog in oog met de Bosschenaren Roosje, Fientje en Jan tijdens gebeurtenissen die hun leven veranderen.De bezoeker ontmoet de Bosschenaren Roosje, Fientje en Jan in de interactieve expositie en kan met hen in gesprek gaan. De Tweede Wereldoorlog krijgt in deze vernieuwende publiekspresentatie vanuit verschillende perspectieven gezicht. Diverse thema's zoals het dagelijks leven, verzet, collaboratie, vervolging en bevrijding komen aan bod. De personen worden geïntroduceerd door historica en Andere Tijden-presentatrice Astrid Sy. De inzet van innovatieve technieken, zoals spraakherkenning, maakt het mogelijk om virtueel een actief gesprek te voeren met de persoon uit de Tweede Wereldoorlog. Iets dat in het echt nauwelijks meer mogelijk is, omdat bijna alle ooggetuigen van de oorlog zijn overleden.
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The evolution of digital media has fostered the emergence of new and adapted forms of storytelling. Journalism combines classic narrative resources with technology and interactive strategies to inform, explain and represent reality. After an initial stage of adaptation and experimentation, it is necessary to reflect on the contribution of the new formats to contemporary, quality journalism for new active audiences. This chapter summarizes the evolution of digital journalistic narrative to identify the differentiating elements that have come from the intersection of documentary and journalism, as well as the new approaches that have arisen from immersive technologies. A panoramic vision will allow us to establish a roadmap to advance the production and research of storytelling for a complex world.
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Creating a mobile urban tourism storytelling application presents several interactivity challenges on how to convey an engaging multimedia experience on-site. This article describes a methodology for fast prototyping of a multimedia mobile applications dedicated to urban tourism storytelling. The application can be a game that takes advantage of several locationbased technologies, freely available geo-referenced media, and augmented reality for immersive gameplay. The goal is to create serious games for tourism that follow a main narrative but where the story can automatically adapt itself to the current location of the player, assimilate possible detours and allow posterior out-of-location playback. Adaptable stories can use dynamic information from map sources such as points of interest (POI), elevation or virtual buildings. The main focus is for these locationbased storytelling games to create more engagement between the tourists and the urban environment. To explore this concept, an application was designed for the city of Porto: Unlocking Porto. This location-based game with a central, yet adaptable, story engages the player into the main sights following an augmented reality path while playing small games. The article discusses and presents solutions for media acquisition, interactive storytelling, game-design interface and multi-disciplinary coordination for mobile app development.
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As the fourth industrial revolution unfolds and the use of digital humans becomes more commonplace, understanding digital humans' potential to replace real human interaction or enhance it, particularly in storytelling marketing contexts, is becoming evermore important. To promote interaction and increase the entertainment value of technology-enhanced storytelling marketing, brands have begun to explore the use of augmented digital humans as storytelling agents. In this article, we examine the effectiveness of leveraging advanced technologies and delivering messages via digital humans in storytelling advertisements. In Study 1, we investigate the effectiveness of narrative transportation on behavioral responses after exposure to an interactive augmented reality mobile advertisement with a digital human storyteller. In Study 2, we compare how consumers respond to augmented digital human versus real human storytelling advertisements after conducting an exploratory neurophysiological electroencephalography study. The findings show that both types of agents promote narrative transportation when the story fits the product well. Moreover, a digital human perceived as more human-like elicits stronger positive consumer responses, suggesting an effective new approach to storytelling marketing.
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Interactivity as part of journalistic narratives is a common practice in newsrooms around the world. Interactive journalistic narratives developed as a subgenre of online journalism in the decade following Snow Fall: The Avalanche of Tunnel Creek (The New York Times, 2012) after which news organisations started to engage in interactive and multimedia storytelling. This complex journalistic genre involves a significant investment of time and money. It encompasses extensive research and engaging online storytelling, which both require advanced technological and journalistic skills. This thesis focuses on interactive journalistic narratives in the Netherlands. Using innovative qualitative research methods, this PhD research explores the consequences of interactivity for the narrative, the production process, and the user experience. The results reveal a tension between the promises of interactivity and the practical application thereof. Creators of interactive narratives hope to engage their audiences with interactive elements woven into their stories. This is part of the changing relationship between journalists and their audience. The results of this thesis indicate that journalists reimagine this relationship in a traditional way, meaning the audience is seen as a recipient of journalistic stories. However, creators deliberately use interactive elements in their journalistic storytelling to engage audiences. With moderate success it seems as the results of the audience study suggest; users reported an increased sense of involvement with the narratives when interactive options allowed them to personalise the story
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