Developing Interactive Narrative Content

(iBusiness) Since its early days the field of interactive digital media is driven by technological innovation. Up to now this is hardly balanced by appropriate innovation contentwise. This is especially true when considering fictional content. A new compilation of articles 'sagas_sagasnet_reader: Developing Interactive Narrative Content' published at HighText-Verlag, sheds light on the broad spectrum of issues to be considered while developing interactive narrative content and is written for all with an interest in the development of storybased interactive applications.

 (Bild: HighText Verlag)
Bild: HighText Verlag
In 22 articles the reader explores the expanding field of interactive media itself by covering iTV, interactive film, games, mobile applications, installations, etc. and by gathering interactive theory essays, descriptions of experimental applications, articles on legal issues or teaching methods for interactive film.

The vocational training initiatives (in the frame of the European MEDIA Plus Programme) sagas writing interactive fiction zur Homepage dieses Unternehmens Relation Browser and sagasnet zur Homepage dieses Unternehmens Relation Browser have been focusing on furthering narrative content development for this field for several years. sagas has done so through cross-disciplinary, team-oriented workshops and labs, exploring the narrative potential of interactive media. sagasnet, on the other hand, through events and consultations assisting independent professionals in the development of interactive applications.

The reader ist edited by Brunhild Bushoff. After completing her university studies in journalism, history and literature at the Westfälische Wilhelms Universität in Münster (Ph.D., 1984) she worked as a journalist and author. Since 1997 she managed the interdisciplinary workshop series sagas writing interactive fiction: a vocational training project, organized by the Munich Film Academy in the framework of the MEDIA Plus Programme of the European Community, furthering the development of narrative content for interactive media. In 2002 she established sagasnet, an additional European training initiative and MEDIA PLUS Training project, aimed at promoting and supporting narrative interactive projects in development.

  • Ernest Adams: Design Considerations for Interactive Storytellers
  • Richard Adams: Behaviour, Intelligence and Invisibility and its Effect on Narrative
  • Frank Boyd: The Perfect Pitch
  • Matt Costello: The Big Question& about all those horrible, terrible videogames
  • Noah Falstein: Natural Funativity
  • Steve Dixon, Magnus Helander and Lars Erik Holmquist: Objective Memory: An Experiment in Tangible Narrative
  • Christopher Hales: Interactive Filmmaking: An Educational Experience
  • Michael Joyce: Interactive Planes: Toward Post-Hypertextual New Media
  • Sibylle Kurz: The Art of Pitching
  • Craig A. Lindley: Story and Narrative Structures in Computer Games
  • Michael Nitsche: Film Live: An Excursion into Machinima
  • Teijo Pellinen: Akvaario: you are not alone at night
  • Bas Raijmakers and Yanna Vogiazou: CitiTag: Designing for the Emergence of Spontaneous Social Play in a Mixed Reality Game
  • Greg Roach: Granularity, Verbs and Media Types in Interactive Narratives and Narrative Games
  • Volker Reimann: Authoring Mobile Mixed Reality Applications
  • Vincent Scheurer: Adapting Existing Works for Use in Games
  • Jochen Schmidt: Behind the Scenes Before the Screens Interactive Audience Participation in Digital Cinemas
  • Tom Söderlund: Proximity Gaming - New Forms of Wireless Network Gaming
  • Stale Stenslie: Symbiotic Interactivity in Multisensory Environments
  • Maureen Thomas: Playing with Chance and Choice Orality, Narrativity and Cinematic Media: Vala s Runecast
  • Christian Ziegler: 66 movingimages - Interaction in Filmic Space
  • Eric Zimmerman: Narrative, Interactivity, Play, and Games: Four naughty concepts in need of discipline