Thesis written under the supervision of PhD Füsun Türetken
Website made under the supervision of Thomas Buxo and François Girard-Meunier
Abstract
This thesis explores the influence of interactive environments on storytelling. It will dive into the evolution of storytelling in the digital age and investigate how various games and immersive projects can serve as a catalyst for engaging narrative experiences. Additionally, this thesis examines case studies of successful interactive storytelling projects, highlighting the role of interactivity in shaping the user's journey and fostering a more profound connection between the audience and the narrative. Ultimately, this investigation contributes to the understanding of the dynamic role game design plays in pushing the boundaries of narrative communication in the digital era and how storytelling benefits from the interactive mediums.
Introduction
Since I have been young I have always been fascinated by good stories. Every time I was exposed to a game, a movie or any other piece of art that would tell a story in an entertaining way, I’d remember it and let it live in my mind rent free. Until this day when I see a story that moves me, I keep it in my head, replay it in my memories, I add stuff to it in my imagination and I relive it over and over, my way. This is an amazing feeling that entertains me and it is something I want to give others as a designer. What I aspire to analyse in my thesis are the manifold ways of storytelling in interactive environments while attempting to comprehend this medium better.
I believe that interactivity adds to every story on another level. What do I mean by that? I argue that it can engage the audience emotionally, making them believe that their actions and choices influence the story itself. This makes them engage with it more or it can encourage people to explore more freely the possibilities of it, and more. As a maker my values include providing entertainment to people, spreading curiosity and telling stories people can relate to, thus those are the things I’d like to research further on a theoretical level in my thesis. For me an interactive story is by definition close to a game, that’s why in majority I will be focusing on games as examples in my thesis.
I would like to analyse different types of interactive environments
for storytelling as well as the ways to tell a story. My main
inspiration for how I’d analyse the storytelling pieces comes from Jakob
GellerContributors to Wikitubia. “Jacob Geller.” Fandom, Inc., https://youtube.fandom.com/wiki/Jacob_Geller.
. He’s a writer and a game analyst
and the way he describes games reminds me of how one would analyse a
literature piece. He analyses narratives in video games and compares
them to real world examples and how a particular story is presented in
the medium of video games.Geller, Jacob. “Staring into the Sun, and Other Ways of Capturing Transcendence.” YouTube, Video, 7 Aug. 2023, https://www.youtube.com/watch?v=WSbUPaLTTUg.
I’m a fan of his
approach to game analysis because it’s different from everything I’ve
seen so far and I see him telling his own story through his writing, it
is really engaging. When I looked for people who write about games he
stood out to me since he didn’t focus as much on the mechanics of the
games he described, but instead on the story being told. He says that in
writing about games it can be boring to analyse every technicality.
Instead Jakob Geller recommends two categories: previews (what this game
might be like) and reviews (what this game is like). As I’m watching his
video essays on YouTube I feel so invested, even when he talks about
games that I have never seen before. That’s why I will try my best to
take inspiration from his way of writing. He has a poetic way to analyse
games as a piece of art in my opinion.
I'll attempt to provide examples of various stories told in specific interactive environments and I will dig into how those stories benefit from their medium.
Storytelling
I see stories in every part of my life. When I walk in the city I see
advertisements with marketing attempting to tell a story of a particular
brand. When I go on social media I see everyday stories of my friends.
Movies I watch, games I play or books I read are all stories - whether
they are fictional or not. Probably most of my knowledge is based on
stories I was told as a kid. “Every culture has its own stories or
narratives, which are shared as a means of entertainment, education,
cultural preservation or instilling moral values.”“Storytelling.” Wikipedia, 24 Feb. 2024, https://en.wikipedia.org/wiki/Storytelling.
Storytelling has evolved over centuries, adapting to different media
and technological advancements. I noticed that in recent years, the
influence of graphic design and game design has given rise to a
fascinating intersection where storytelling takes on new dimensions in
interactive environments.The Simple Essence of Great Storytelling. https://www.faisaljamshaid.com/blog/the-simple-essence-of-great-storytelling.
In this chapter I’ll look into the
essence of storytelling, explore its connection to graphic design and
game design, highlighting its significance, and elucidate how
interactive environments can enhance and enrich the narrative
experience.
At its core, storytelling involves the creation and communication of a narrative, weaving together characters, settings, and series of events to evoke an emotional response or convey a message. The beauty of storytelling lies in its ability to transport audiences to different worlds, evoke powerful emotions, engage and provoke thought and introspection. Through storytelling, individuals can explore universal themes and experiences, confront complex issues, and gain new perspectives on the world around them. Whether through literature, film, theatre, oral traditions, or digital media, storytelling has the power to inspire, educate, and entertain.
Traditionally confined to oral traditions, storytelling has now found a new canvas in the digital realm, with interactive environments offering an unprecedented platform for engagement. Users no longer passively consume a narrative but actively contribute to its unfolding, influencing outcomes and shaping the story's direction. By giving the audience a choice on how to progress in the story, or an illusion of one (more about it in Chapter 3) they can be more engaged. Stories that are presented in different media can branch into various developments, being interactive mediums like video games, where choices made by the player can influence the story, or less interactive, like films or books.
Graphic design, with its emphasis on visual communication, plays an
important role in storytelling. Visual elements, such as typography,
colour schemes, and imagery, contribute to the overall narrative
experience. In a commercial context, storytelling becomes a valuable
strategy for branding and marketing too. Brands leverage interactive
environments to craft compelling narratives that resonate with their
audience, creating memorable and impactful experiences.Decker, Allie. “The Ultimate Guide to Storytelling.” HubSpot, 05 Nov. 2023, https://blog.hubspot.com/marketing/storytelling.
A
well-designed visual language can enhance the emotional impact of a
story or guide the user's attention. Game design, on the other hand,
characterised by its interactive entertainment creates narratives that
are shaped by player choices and actions. The fusion of gameplay
mechanics with storytelling elements results in a unique medium where
users not only experience a story but actively participate in its
constructionAlismail, Halah Ahmed. “Integrate Digital Storytelling in Education.” Integrate Digital Storytelling in Education, 2015, https://files.eric.ed.gov/fulltext/EJ1082416.pdf.
.
The significance of storytelling in interactive environments extends
beyond entertainment. Be it of civil or of military nature: think
of educational settings, in which interactive storytelling can
facilitate immersive learning experiences, making complex subjects more
accessible and engaging.Skolnick, Evan. Video Game Storytelling: What Every Developer Needs to Know about Narrative Techniques. CRC Press, 2014.
Interactive environments provide a
canvas for storytellers to experiment with non-linear narratives, player
agency, and emergent storytelling. The element of interactivity
introduces a dynamic dimension to the narrative, where user choices,
exploration, and interactions shape the unfolding story. This
participatory nature not only enhances engagement but also encourages
users to invest emotionally in the narrative outcomes.
Moreover, the use of immersive technologies, such as virtual reality (VR) and augmented reality (AR), elevates the storytelling experience to new heights. These technologies immerse users in virtual worlds, blurring the lines between fiction and reality. The spatial and sensory aspects of VR, for instance, enable users to explore and interact with the story environment in ways previously unattainable, enhancing the overall storytelling experience.
I do acknowledge also the risks of the addictive nature of such
immersion.Dwivedi, Yogesh K., et al. “Metaverse beyond the Hype: Multidisciplinary Perspectives on Emerging Challenges, Opportunities, and Agenda for Research, Practice and Policy.” International Journal of Information Management, vol. 66, Oct. 2022, p. 102542, https://doi.org/10.1016/j.ijinfomgt.2022.102542.
This can be one of the reasons why
gaming can become addictive but also due to reward systems or social
elements, which can lead to excessive gaming behaviour and neglect of
other responsibilities. Additionally, the incorporation of gambling
mechanics, such as loot boxes or in-game currency purchases, in some
games can contribute to addictive behaviours by exploiting psychological
triggers and encouraging repetitive spending in pursuit of rewards. In
this thesis though I will not be focusing on the addictive mechanics of
interactive environments, but on how stories told in those mediums can
be more appealing to the audience.
As mentioned before, stories can be told in different media, orally, as a written story, a film, as a (series of) images or something else entirely. Fairytales can be an example of both written and oral storytelling, especially those that mean to convey morals in them. In the fairy tale "The Tortoise and the Hare," the moral emphasises the importance of perseverance and consistency over arrogance and overconfidence. Despite the hare's natural speed, the tortoise's steady progress and determination ultimately lead to victory, teaching the lesson that slow and steady wins the race.
I personally see a strong connection between storytelling and games
in particular, I believe this medium enriches the possibilities of
engaging in a story. Adding interactivity to it provides additional
entertainment for the audience and provides a new canvas to present the
story on. Interactive environments refer to digital or physical spaces
designed to engage users actively through real-time interactions and
feedback.Rachael. “What Is The Difference Between Immersive And Interactive - Draw & Code.” Draw & Code - VR, AR & Immersive Tech, https://drawandcode.com/learning-zone/what-is-the-difference-between-immersive-and-interactive/.
Physical interactive environments
can involve interactive installations, such as art exhibits or
educational displays, where users' actions influence the experience or
outcome. In digital contexts, they may include virtual reality
simulations, online gaming platforms, or interactive websites that
respond to user inputs. For example the website on which this thesis is
published, I use shapes in the background to create a playful and
interactive environment.https://github.com/kabk/go-theses-24-paulina-cywoniuk
In the next chapter I will describe my experiences with storytelling in tabletop, card and board games. Tabletop games are various types of games that are played on the table. This particular environment will not be digital, but nonetheless interactive and engaging.
Tabletop
When I was 16 I was invited to play Dungeons and Dragons
(D&D) with my friends for the first time. I heard about this
game before, but the only image about it that I had is that it’s a
popular game among “nerds”Dictionary, Cambridge. “Nerd.” English Meaning - Cambridge Dictionary, https://dictionary.cambridge.org/dictionary/english/nerd.
When I asked my friend for help with filling up the character
sheet, he sent me A WHOLE BOOK as an instruction. Upon further research
I found that it’s 46 books Delano, Ollie. “All DnD 5e Books: A Complete List.” Dungeons & Dragons Fanatics, 13 Feb. 2024, https://dungeonsanddragonsfan.com/dnd-5e-books-list/.
that goes into
making this game whole! No wonder people say it’s a game for nerds, that
sure is a lot of lore to read and rules to understand…
In Dungeons & Dragons, the players form an adventuring party who explore fantasy worlds together as they embark on epic quests and level up in experience. The “Dungeon Master” (DM) is the game's referee and storyteller. At its heart, D&D is a game that focuses on storytelling. Everything is your decision, from what you look like, to how you act, to what happens next. The collective creativity in your D&D game builds stories that you’ll tell again and again—ranging from the stuff of legend to absurd incidents that’ll make campaign members laugh. D&D provides a platform for interactive storytelling, where players actively engage with the narrative through role-playing and improvisation. By assuming the roles of fictional characters, players immerse themselves in the story world, blurring the lines between fiction and reality. I think this interactive element heightens player immersion and emotional investment in the narrative, making the storytelling experience more compelling and memorable.
I was reassured though that I need to know only a few chapters from one book to start playing. So I got into it and as I was reading what options I’m choosing from I got more and more excited. First, I went with choosing the race of my character. In the basic Player’s Handbook there are 9 races to choose from - Dwarf, Elf, Hafling, Human, Dragonborn, Gnome, Half-Elf, Half-Orc and Tiefling. I went for the dragonborn, because dragons are cool and I wanted to play as a half dragon. Then, I needed to choose my class and I went with a Warlock because I liked the idea of performing magic spells. I was choosing from those twelve: Barbarian, Bard, Cleric, Druid, Fighter, Monk, Paladin, Ranger, Rogue, Sorcerer, Warlock and Wizard.
And there I was! A warlock half-dragon named Max - my own character starting an adventure with my friends!
When someone plays a Dungeons and Dragons session for the first time it can be a quite awkward experience. Usually a group of players sit by the table, all of them with character sheets in their hands, a bunch of weird dice and that’s it. No board game, no cards, no controller, just an empty table and their imagination. The main storyteller - a DM, starts by setting up the scenery of the game. It can be anything, as long as it’s a fantasy setting (or not even!). They do it by simply describing it to the players.
“A gentle breeze moves your hair slightly as you stick your head out of the caravan. The heat of the desert makes you sweat even more but your curiosity wins. You’ve been travelling for a few days now and you can finally see your destination - the city of Johnturn. You smile from excitement as huge city gates get closer and closer. You turn back inside to tell that to your crew mates (...) ”
This could be the beginning of a new D&D game. Coming up with a story in D&D can be pretty straightforward given the flexibility and creativity in storytelling and gameplay. The rules are designed to be adaptable, which makes it easier for the DM to create and adapt content on the fly, without being bound by rigid rules or predefined outcomes. Moreover, D&D is a collaborative storytelling experience, so both the DM and players contribute to the narrative. This shared responsibility for storytelling alleviates some of the pressure on the DM to single-handedly create and manage the entire campaign. Players can also contribute their own ideas, backstories, and character motivations, enriching the overall storytelling experience.
Tabletop role-playing games (RPGs) such as D&D operate on the fundamental principles of player agency and collaboration. Unlike traditional storytelling mediums where the audience passively consumes a predetermined narrative, D&D players actively participate in shaping the story through their decisions and actions. The story that the DM comes up with rarely develops according to plan because of the individual player’s decisions shaping the story as it develops. The Dungeon Master serves as both storyteller and facilitator, adapting the narrative in response to player choices, thereby creating a dynamic and personalised storytelling experience.
Stories told in a D&D session can be enriched by the team work of
the players, their collaboration and collective problem-solving. This
cooperative element not only strengthens their social bonds, but also
helps the storytelling process by incorporating diverse perspectives and
ideas. In the context of game theory, collaboration in D&D can be
likened to cooperative gameplay strategies Barkley, Andrew. “Chapter 6. Game Theory.” New Prairie Press, 31 July 2019, https://kstatelibraries.pressbooks.pub/economicsoffoodandag/chapter/__unknown__-6/.
,
where players work together to achieve a common goal despite potential
conflicts of interest (such as who is the first to collect all the shiny
new loot or kill more enemies). This collaborative dynamic adds depth
and complexity to the narrative itself.
At its core, D&D is about having fun and telling engaging stories with friends. While there are rules and mechanics to learn and master, the primary goal of a D&D campaign is to create memorable experiences and enjoy shared adventures with fellow players. This focus on fun and camaraderie can make running a D&D campaign feel less daunting and more enjoyable for DMs and players alike. All those things make stories told in the medium of this tabletop role playing game more engaging to experience. There are no stories that are passively consumed by the players since they build the story together and each experience matters for the whole story.
Video Games
A story presented in the medium of a video game can cause emotional
connection between players and the medium. Said by Jakob Geller
One reason for creating emotional involvement in the game can be the
power of choice given to the player. Unlike passive forms of
storytelling, such as books or movies, video games actively involve
players in the narrative. Through gameplay mechanics, players make
decisions that impact the story's progression, character development,
and outcomes. Whether this power is actually given to them or it is an
illusion of choice. Cuncic, Arlin. “What Is the Illusion of Choice?” Verywell Mind, 28 Apr. 2022, https://www.verywellmind.com/what-is-the-illusion-of-choice-5224973.
This interactive engagement invests
players emotionally in the narrative, as they feel personally
responsible for the consequences of their actions.
When thinking about a game that gave me such choices, what comes to
my mind is Life is Strange, a game made by Don’t Nod in 2015.
The story is about a girl, Max, who suddenly gets power to reverse time
after having a vision of a tornado destroying the city she studies in.
Us, as players, we impersonate her character and are responsible for the
choices she makes. Whole game is choice based, dialogue has branching
options Contributors to Wikimedia projects. “Dialogue Tree.” Wikipedia, 30 Jan. 2024, https://en.wikipedia.org/wiki/Dialog_tree.
in conversations and whatever
dialog options we choose, we will be faced with either short or long
term consequences. As the story progresses we reunite with our childhood
friend, Cloe, learn about a missing person, Rachel, and go look for her
as we interact with other non-playable characters.
One of the most moving stories from this game that stuck with me is the story of Kate. The fellow student of Max who is being bullied for a viral video depicting her kissing several students at a part. The harrasment pushes her to commit suicide by jumping off the roof. Max manages to rewind time and reach the roof, giving her the opportunity to talk Kate down. Depending on the player's dialogue choices, Max can either save Kate, or fail to convince her to not jump. I remember it clearly when I was playing it, the pressure of being responsible for someone’s life. Obviously enough, I know it is a fictional character but I wanted to save her so badly I stopped playing for a moment and I went on the Internet to look for the correct dialogue options that could talk Kate out from committing suicide.
Games were not made in a vacuum - while analysing them we need to remember what they represent. And during what socio-economic and political climate and context they are created. They can explore complex themes and narratives that resonate with players on a deeper level. From exploring existential questions to delving into the human condition, video game stories can evoke a wide range of emotions, including joy, sadness, fear, and empathy. By engaging players intellectually and emotionally, video games create lasting emotional connections that transcend the boundaries of the medium.
In 2004 Peter Eliot wrote a hundred page essay PeterEliot. “ICO Plot/Story Guide (PS2).” GameFAQs, 3 Mar. 2004, https://gamefaqs.gamespot.com/ps2/367472-ico/faqs/29015.
about ICO Contributors to Wikimedia projects. “Ico.” Wikipedia, 8 Feb. 2024, https://en.wikipedia.org/wiki/Ico.
, a game released in 2001 by Japan
Studio and Team Ico and published by Sony Computer Entertainment for the
PlayStation 2. This essay is not purely about gameplay but about his
feelings when he played this game. It follows the emotional involvement
of the player as he progresses in the game plot. The actual storyline is
a straightforward fairy tale about a prince who is saving a princess
from a castle. The reason why he got so emotionally connected to the
story is because of his interpretation of this game as a piece of art.
The way he interprets art is a conversation between the piece and his
own lived experience.
Very similary, I was probably so connected to the roof scene of Life is Strange as it was reminding me of my very real experience of talking my best friend out of a suicide attempt.
The story in Life is Strange ends in a tornado coming to the city and a player has to make a choice for Max - should we rewind time and save the city from destruction, or stay with our lover (Cloe) in the current time. Those two choices are hard to digest; after all, we are either choosing personal happiness or the well-being of the whole community. There is, though, one set of choices that can be made through the game, that gives us options at the end to both save the city and stay with Cloe.
In this story, choices that players make along the way strongly influence the story presented in this game both long and short term.
Sometimes though, there are stories presented in games that give the audience an illusion of choice in the short term, that doesn’t influence the story as a whole in the end. One of the games like that is the Stanley Parable designed and written by Davey Wreden and William Pugh in 2013.
In the game, the player plays as a silent protagonist named Stanley alongside narration done by Kevan Brighting. As the story progresses, the player is confronted with various branching paths. Players have the option to defy the narrator's instructions, leading to these acts of rebellion becoming part of the evolving story or listen to him and watch the story develop as it “should”. Depending on the choices made, the player will encounter different endings before the game resets to the beginning.
In this example the player's choices matter only for the experience of the story temporarily, to later be disregarded and come back to the default start. If power of choice is not dominant in this video game then what could be making this story so interesting to the players? Most likely it is the overall concept of the player dictating their own role inside the game. Games often feature protagonists with whom players can identify, even if they are as abstract as “the Stanley”. By assuming the role of these characters, players develop a sense of connection and attachment, experiencing the story through their eyes. Especially rebellion from the set path for such a character can be an appealing thing to motivate the audience to engage in this story.
Overall, storytelling benefits from the medium of video games by giving the audience an idea of having the power of choice. We can’t forget emotional involvement by giving players relatable characters to play as, or creating the engaging settings for the story itself. Video games provide strong immersion in the story, but the medium I’ll be discussing in the next chapter is even better for it.
Immersive Projects
Immersive mediums such as virtual reality (VR) and augmented reality
(AR) are a relatively modern technology developed in the 1980s. There is
still much to be developed and to be discovered. That’s why it is
particularly interesting to investigate how stories benefit from being
presented in one of them. Not so long ago, I was visiting the
International Documentary Film Festival Amsterdam (IDFA) 2023 festival,
where I spent most of my time in the IDFA Lab, where they were
presenting immersive projects. I’ve seen many 360° films there, some
video games and a few AR based projects. One of them stood out to me in
particular - Emperor done by Marion Burger and Ilan Cohen in
2023 Burger, Marion, and Ilan Cohen. Emperor. VR, 2023, https://festival.idfa.nl/en/film/49252b3a-45fb-497f-a95d-9d9ba05ec81e/emperor/. IDFA Lab, Amsterdam.
. The reason why it was different
from other projects is that it was more interactive than other VR
projects.
When I put on the VR goggles I was dragged into a black and white
world that looked like a hand drawn illustration. A female voice started
speaking directly to me, telling me a story of how hard it was for her
to witness her father’s stroke on one of the hot summer days in France.
The way she was sharing her experience with me made me feel empathetic
to her situation and more interested in the story overall. Further into
the story I was put in the position of the father himself. She was
asking me to write down what time it was on a piece of paper. I took my
controller that I was holding in my right hand and to my surprise I
could see a virtual hand following my movements. With my digital hand
I’ve picked up a pen and tried to write down “14:35”. The moment I did
it, numbers on the paper changed into some scribbles. My “daughter”
sighed and asked me to try again. At that moment I felt the frustration
of the father from this story, I couldn’t communicate with people around
me. Any attempt that I’ve made was met with an obstacle. I could for
that brief moment experience what people with aphasia “Aphasia - Symptoms & Causes.” Mayo Clinic, 11 June 2022, https://www.mayoclinic.org/diseases-conditions/aphasia/symptoms-causes/syc-20369518
might be experiencing on a
daily basis.
Through realistic visuals, spatial audio, and interactive elements, VR can create powerful emotional connections with characters and story events, making the storytelling experience more impactful and memorable. Compared to films, there is no director that tells the audience what shot of the story to watch, when we put on VR goggles suddenly we are the director and we control what angle we want to see. Having the power over it may make his medium more appealing to the audience and thus make them more engaged with the story presented. For those who have not experienced what is presented in the immersive stories, VR simulations can provide a glimpse into the reality of it. By immersing viewers in the perspectives of people from different cultures, with illnesses, or even war survivors, VR fosters empathy and understanding, influencing the way their stories are received and interpreted by others. Viewers may develop a deeper appreciation for the complexities of the story they experience.
I’ve mentioned before in this thesis how the audience engages with the stories in interactive environments via entertainment. However, there are stories told in those mediums that are far from entertaining and yet they still draw in. What I mean by that is an example of a virtual reality (VR) project done by Harun Farocki titled “Serious Games III: Immersion” in 2009-2010. This particular project tells a moving story of soldiers who have been sent to the war in Afghanistan and now are suffering with post-traumatic stress disorder (PTSD). Using VR goggles patients are transported to the virtual recreation of the war they’ve experienced and via exposure therapy they hope to get better. Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. The audience of this project is faced with traumatic stories of the war survivors and looks at how those soldiers relive their experiences in VR goggles.
VR provides an immersive environment that can evoke strong emotional responses from users by engaging most of the senses. War survivors experiencing VR simulations of combat scenarios may feel as though they are reliving traumatic events, leading to more vivid and detailed storytelling. The heightened sense of presence in VR can make the stories told by these individuals feel more impactful.
Moreover, while putting on the VR goggles one is cut out from the onsite world, experiencing only this one thing at the time individually. VR can create a safe and controlled space for war survivors to confront and process their traumatic experiences. In this supportive environment, individuals may feel more comfortable opening up and sharing their stories. The sense of anonymity and detachment afforded by VR can also reduce feelings of shame or embarrassment, allowing survivors to speak more freely about their experiences.
Overall, the use of VR in therapy for war survivors not only facilitates the treatment of PTSD but also influences the way their stories are told and understood. By providing an immersive and safe space for expression, fostering empathy and understanding, and enhancing memory retrieval, VR plays a transformative role in shaping the narratives of those who have lived through war.
Choosing VR as a medium for the storytelling can help the story itself by making the audience more immersed in it. As said in the previous paragraphs it can add to the storytelling by isolating the audience to experience the story, influence many senses and give power over experiencing the story as one wishes. Virtual Reality (VR) offers a uniquely immersive experience, enabling users to inhabit and interact with story environments in a deeply engaging manner, fostering a sense of presence and agency that traditional media cannot replicate. Its ability to transport users to alternate realities and allow for firsthand exploration enhances empathy, immersion, and the potential for impactful storytelling experiences.
Conclusion
In conclusion, the exploration of storytelling in interactive environments reveals a dynamic and multifaceted landscape where narratives are crafted, experienced, and shared in novel ways. From traditional mediums like oral storytelling, literature and film to modern platforms such as video games and virtual reality, storytelling continues to evolve, adapting to new technologies and engaging audiences in immersive experiences. The beauty of storytelling lies in its ability to transport audiences to different worlds, evoke powerful emotions, and provoke thought and introspection.
In this thesis, I have delved into various forms of interactive storytelling, examining their significance and impact on audience engagement. From tabletop role-playing games like Dungeons & Dragons to video games like Life is Strange and The Stanley Parable, we have witnessed how interactivity enhances the narrative experience, allowing players to actively shape the story through their decisions and actions. In these environments, storytelling becomes a collaborative endeavour, with both creators and players contributing to the unfolding narrative.
Moreover, the emergence of immersive technologies such as virtual reality has opened up new possibilities for storytelling, allowing users to step into virtual worlds and experience narratives in unprecedented ways. Through realistic visuals, spatial audio, and interactive elements, VR creates powerful emotional connections with characters and story events, fostering empathy and understanding. Projects like "Serious Games III: Immersion" by Harun Farocki demonstrate how VR can be used not only for entertainment but also for therapeutic purposes, facilitating the treatment of PTSD and shaping the narratives of war survivors.
In this ever-evolving landscape of interactive storytelling, the role of the storyteller remains crucial. Whether it's a Dungeon Master guiding players through a D&D campaign, a game developer crafting branching narratives in a video game, or an artist creating immersive experiences in virtual reality, storytellers have the power to captivate audiences, provoke emotions, and spark imagination. By harnessing the principles of game theory and storytelling, creators can create compelling narratives that resonate with audiences on a deeper level.
In conclusion, storytelling in interactive environments represents a convergence of creativity, technology, and human experience, offering endless opportunities for exploration and discovery. Whether it's through a game, a virtual reality experience, or a collaborative storytelling session, the power of storytelling transcends boundaries, connecting people across cultures, languages, and backgrounds. As we navigate this ever-changing landscape, let us continue to embrace the magic of storytelling and harness its transformative potential for the benefit of all.
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Works Cited
Burger, Marion, and Ilan Cohen. Emperor. VR, 2023, https://festival.idfa.nl/en/film/49252b3a-45fb-497f-a95d-9d9ba05ec81e/emperor/. IDFA Lab, Amsterdam.
Contributors to Wikimedia projects. “Life Is Strange (Video Game).” Wikipedia, 30 Dec. 2023, https://en.wikipedia.org/wiki/Life_Is_Strange_(video_game). Accessed 14 Feb. 2024.
---. “The Stanley Parable.” Wikipedia, 1 Feb. 2024, https://en.wikipedia.org/wiki/The_Stanley_Parable. Accessed 14 Feb. 2024.
Cuncic, Arlin. “What Is the Illusion of Choice?” Verywell Mind, 28 Apr. 2022, https://www.verywellmind.com/what-is-the-illusion-of-choice-5224973. Accessed 14 Feb. 2024.
Delano, Ollie. “All DnD 5e Books: A Complete List.” Dungeons & Dragons Fanatics, 13 Feb. 2024, https://dungeonsanddragonsfan.com/dnd-5e-books-list/. Accessed 27 Feb. 2024.
Faria, Leo. “Review - The Stanley Parable: Ultra Deluxe.” WayTooManyGames, 28 Apr. 2022, https://waytoomany.games/2022/04/28/review-the-stanley-parable-ultra-deluxe/. Accessed 14 Feb. 2024.
Farocki, Harun. Serious Games III: Immersion. VR, Film, 2010, https://vimeo.com/370494311. MOMA.
PeterEliot. “ICO Plot/Story Guide (PS2).” GameFAQs, 3 Mar. 2004, https://gamefaqs.gamespot.com/ps2/367472-ico/faqs/29015. Accessed 14 Feb. 2024.
Rogers, Scott. Level Up! The Guide to Great Video Game Design. John Wiley & Sons, 2014.
Sicart, Miguel. Play Matters. MIT Press, 2014.
Suter, Beat, et al. Narrative Mechanics: Strategies and Meanings in Games and Real Life. Transcript Publishing, 2021.
The Game Designer’s Playbook: An Introduction to Game Interaction Design. Oxford University Press, 2022.