Player profiling is a popular research area in computer gaming but it is especially important for interactive storytelling (IS) systems. In this article our aim is: (1) to real-time profile players ...by constantly monitoring player actions, (2) to define pattern (sequence of player actions) types for profiling, (3) to match patterns rapidly, and (4) to define the relationship between matched patterns and player profiles by pattern-motivation pairings. We defined complex pattern samples for profiling and developed a C++ profiler for an Interactive Storytelling project that matches user actions to these patterns.
L’histoire de Vishma : un mystère résolu Sookdeo, Vishma; Etchells, Edward; Reich, Heather N.
Canadian Medical Association journal (CMAJ),
11/2022, Volume:
194, Issue:
46
Journal Article
L'histoire de Vishma: un mystere resolu Sookdeo, Vishma; Etchells, Edward; Reich, Heather N
Canadian Medical Association journal (CMAJ),
11/2022, Volume:
194, Issue:
46
Journal Article
Transmedia storytelling involves telling a story using multiple distinct media. The remit of stories that fall under this broad definition is vast, resulting in many words used to describe different ...categories of transmedia storytelling. There are two problems that arise from this. Firstly, there is a lack of critical tools that are able to be applied to all of the different manifestations of transmedia storytelling, disabling us from comparing different experiences using common language. Secondly, the ad‐hoc categories used such as franchises, Alternate Reality Games and escape rooms are often too broad and not useful to contextualise transmedia research. The ability to use a tool to differentiate between different categories, group experiences together and apply relevant theories within these groups is a challenge that has not yet been accomplished. In this thesis, I have presented a model for describing structural features of transmedia stories (MOTS). I have analysed eight transmedia stories using this model, producing visualisations that show the high‐level structure of each. I have also explored how this model can be used to extract metrics from experiences that can be used as the basis for classification, and have extracted the metrics of fifty experiences. I use a statistical clustering technique known as K‐Means to process these metrics to reveal fourteen distinct categories. I explicate these categories and demonstrate how this classification is useful by referring to literature in the field by applying and updating theories in light of the categories found. The process has made clear that no model or classification is correct or empirical, but instead unique in their ability to produce results that are useful depending on the features of transmedia storytelling that are focused on.
Involuntary celibates, or incels, are part of a misogynistic, extremist subculture that has been linked to acts of mass violence. Unlike other alt-right communities, the incel subculture exists ...entirely online, and participants rarely, if ever, interact in face-to-face settings. Using an original dataset of 76 discussion threads drawn from two self-identified incel Web sites, this paper investigates how participants on incel discussion boards engage in bonding activities that foster a sense of commitment to the online incel community. We build on sociological understandings of narrative and storytelling to identify and describe three interactive storytelling practices that are facilitated by the affordances of these digital spaces: repetition, co-creation, and elaboration. These practices enable incel participants to share similar experiences, apply elements of the incel ideology to interpret off-line events, and elaborate boundaries between incels and those that they perceive as “normies”. Our study reveals how online bonding activities generate robust collective identities in the incel subculture. It also highlights crucial differences between online and face-to-face storytelling practices in alt-right communities.
In human culture, storytelling is a long-established tradition. The reasons people tell stories are manifold: to entertain, to transfer knowledge between generations, to maintain cultural heritage, ...or to warn others of dangers. With the emergence of the digitisation of media, many new possibilities to tell stories in serious and non-entertainment contexts emerged. A very simple example is the idea of serious gaming, as in, digital games without the primary purpose of entertainment. In this paper, we introduce the term
serious storytelling
as a new potential media genre – defining serious storytelling as storytelling with a purpose beyond entertainment. We also put forward a review of existing potential application areas, and develop a framework for serious storytelling. We foresee several application areas for this fundamental concept, including wellbeing and health, medicine, psychology, education, ethical problem solving, e-leadership and management, qualitative journalism, serious digital games, simulations and virtual training, user experience studies, and online communication.
What differentiates narration with sequential images from narration with single images? Pictorial narration can take different forms, depending on how many images are used to tell a story. This paper ...questions common usages of the notions
single
images
and
sequential images
, in order to better understand the differences between them for visual narration. It highlights the specific potential of sequential images regarding storytelling and notes what kinds of inference a spectator needs to undertake to correctly understand such pictorial narratives. The aim is to gain a more thorough understanding of a specific kind of two-dimensional pictorial narration: narration with sequential images.
In this paper, organizational storytelling is defined as planned communication by. organizations that deliberately uses specific forms of content and delivery behavior to. engage audiences (both ...internal to the organization and outside it) cognitively and. affectively primarily for the achievement of organizational goals and objectives. But. there is little in the literature to show how organizational storytelling fits into the. theoretical lexicon of public relations; or to guide practitioners in how to adapt. storytelling to suit organizational purposes. There is even less discussion from either. perspective on how public relations can contribute to organizational storytelling. Stories are often described as being engaging, but little has been written to explain. why this is. Extant research tends to focus on the significance of engaging of. audiences with stories, rather than understanding how stories engage. This paper. adopts an engagement perspective on storytelling in general to identify the cognitive,. affective, and behavioral aspects of its elements (characters, plots etc.). The same lens. is then applied to organizational stories and shows how they use the elements of. engagement to convey organizational key messages. The paper also highlights. differences between storytelling and organizational storytelling. These findings are. incorporated into a checklist for practitioners to help them identify, create, critique, and. improve organizational storytelling in their work. In addition, the paper suggests ways. in which public relations can bring its uniquely relational perspective to contribute to. organizational storytelling by empowering stakeholder storytelling to organizations and. listening by organizations.
•Stories engage their listeners cognitively, affectively, and behaviorally.•Organizational storytelling engages audiences in the same way to convey key messages and achieve organizational benefits.•Individual organizational stories must align with an overarching organizational narrative theme.•Organizational storytelling could be improved if public relations practitioners facilitate stakeholder storytelling and organizational listening.
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