![]() ![]() ![]() Despite the increasing popularity of such systems their poetics are poorly understood, meaning limited guidance for authors, and few authoring tools. In a location-based story a reader's movement through physical space is translated into movement through narrative space, typically by presenting them with text fragments on a smart device triggered by location changes. Future work shall also contextualise the research and findings though the development of commercial games. The ongoing aim of this work is to further investigate interpretive play in the context of digital games and continue to develop the cognitive psychological foundation. Results are comparable to the psychological model, particularly the prominent roles of recalling and forming expectations, and how player attention is often attracted to novel, unfamiliar, or unexpected stimuli. The relevance of the proposed cognitive psychological foundation is also considered in regard to digital games with no documented intentional use psychologically, primarily through an analysis of player behaviour and response in Gone Home. This psychological foundation is then compared to contemporary approaches to narrative design, particularly in Her Story and Dear Esther. Second, how pleasure is derived from increased arousal through engaging with novel, unfamiliar stimuli. First, how narrative information is synthesized with prior experiences and expectations into ‘situation models’ in long-term memory. We present a demonstration of this concept through our own therapeutic locative interactive narrative: Snow White is Missing, and detail both its design from an interactive narrative and therapeutic activity perspectives.īuilding on previous discussions of interpretive play in story-focused digital games, a psychological foundation of narrative interpretation is proposed. ![]() The locative nature of these stories enables therapeutic activities connected with out door spaces, and allows for content to enrich users, the readers of locational context. These are interactive story experiences, read while on the move, that respond to the readers environment and location context, and have therapeutic value. In this paper we propose a new form of serious game in this vein: therapeutic locative interactive fiction. DEAR ESTHER PSVR SOFTWAREThis can also be said for a range of applications including those pertaining to mental and physical health which are also looking to take advantage of the increase in mobile technology to create digital interventions and other treatment based software for mobile devices that can benefit from the mobile deliver form. With the increasing prevalence of powerful mobile technology, interactive entertainment is also becoming increasingly mobile. However consideration should be given to the transitions between natoms, and heritage professionals should be challenged to take more risks with fiction. The output of this research is an analysis of the recordings and observations made during the Untours, which proves that it is possible to author coherent narratives by tagging individual natoms. Visitors participated in an â��Untourâ�� simulating a responsive environment, triggered by their movement around the spaces of the house. ![]() Taking learning from that experiment to Chawton House Library, an on-line data-base of natoms was built, which included environmental effects such as lighting, sound and music. The bulk of the work is auto-ethnographical: how might cultural heritage professionals, like me, translate linear interpretations such as histories, guidebooks, exhibition texts and other sources, into a network of narrative atoms (natoms) that an algorithm, rather than a human, might deliver to visitors? What should they consider along the way? The first prototype was a responsive heritage narrative, this was an on-screen text â��adventureâ�� rather than a real-world environment. What can real-world cultural heritage sites learn from the video games industry about presenting a coherent story, while giving visitors freedom to explore and allowing them to become participants in the story-making? How do cultural heritage professionals have to change their storytelling practices to properly take advantage of new digital technologies? A review of the literature, including analysing the narrative of three â��open worldâ�� style video games shows that cultural heritage sites manage to provide analogues of many ludic emotional triggers except one â�� story. ![]()
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