Draw your own story: Paper and pencil interactive storytelling

2000

We have designed a novel interface for interactive storytelling, where users manipulate physical objects to access various portions of a narrative. The story is designed so that the physical artefacts play meaningful parts in the narrative, thus blurring the line between story and interface. In informal tests and demonstrations users found the interaction easy to understand, thus indicating this could be a promising way to increase user involvement in interactive narrative.

Multimodal Technologies and Interaction

The following study addresses, from a design perspective, narrative visualization using augmented reality (AR) in real physical spaces, and specifically in spaces with no semantic relation with the represented data. We intend to identify the aspects augmented reality adds, as narrative possibilities, to data visualization. Particularly, we seek to identify the aspects augmented reality introduces regarding the three dimensions of narrative visualization—view, focus and sequence. For this purpose, we adopted a comparative analysis of a set of fifty case studies, specifically, narrative visualizations using augmented reality from a journalistic scope, where narrative is a key feature. Despite the strong explanatory character that characterizes the set of analyzed cases, which sometimes limits the user’s agency, there is a strong interactive factor. It was found that augmented reality can expand the narrative possibilities in the three dimensions mentioned—view, focus and sequence—but ...

Virtual Reality …, 2010

Sketching leverages human skills for various purposes. In-Place Augmented Reality Sketching experiences build on the intuitiveness and flexibility of hand sketching for tasks like content creation. In this paper we explore the design space of In-Place Augmented Reality Sketching, with particular attention to content authoring in games. We propose a contextual model that offers a framework for the exploration of this design space by the research community. We describe a sketch-based AR racing game we developed to demonstrate the proposed model. The game is developed on top of our shape recognition and 3D registration library for mobile AR.

2002

We present a multimedia storytelling system that couples a tangible interface with a multiple viewpoint approach to interactive narratives. Over the centuries, stories have moved from the physical environment (around campfires and on the stage), to the printed page, then to movie, television and computer screens. Today, using wireless and tag sensing technologies, storytellers are able to bring digital stories back into our physical environment. The Tangible Viewpoints system explores how physical objects and augmented surfaces can be used as tangible embodiments of different character perspectives in an interactive tale. These graspable surrogates provide a direct mode of navigation to the story world, a means of bridging the gap between cyberspace and our physical environment as we engage with digital stories. The system supports stories told in a range of media, including audio, video, still image and text.

2011

This paper describes a first study of a paper based interface, consisting of a large format book and a set of picture cards that children can use to create stories. The handling of the picture cards has shown to be highly motivating and engaging, helping children to build a storyline creating logical relations among different characters and objects. The interface has shown to be an experimental space where children can play with the language and simultaneously reflect over it, in a collaborative process. We present the data collected with a group of five years old preschoolers and report our findings regarding the interaction design, as well as a reflection over future work.

2021

The territory of locative media, coupled with augmented reality, offers unique opportunities to excavate and unpack rich historic events, in immersive storytelling. In September of 1943, during World War II, approximately 5,200 Italian soldiers were massacred on the Greek island of Kefalonia by Nazi troops. This massacre is credited as one of the largest ever prisoner-of-war massacres in recent history (Lamb, 1996) and left an indelible mark on the island of Kefalonia. In 2019, Configuring Kommos: Narrative, Event, Place and Memory, an interdisciplinary research project, began an investigation into the triangulation of narrative within the complexity of this tragic collection of events. This paper presents the structural formation of the augmented reality app, Ambedo, currently under development as part of the broader project. Ambedo, principally reliant on geo-referencing for navigating the nuanced terrain of the island, serves as a counter monument to those martyred while seeking ...

This paper explores narratives through a wider community having access to technology, which provides instantaneous positioning and real time information; this has led to breaking of boundaries enabling mapping and user interactions to expand these narratives into enhanced immersive experiences. I explore these narratives through specific user interactions of augmented reality, or as I adopt augmented spaces, Manovich (2002). Then I describe how they become egocentric subjective narratives, Nold & Boyd-Davis (2009) providing a totality view of an environment allowing a user to “enter it”, Grau (2003). I explain how these egocentric subjective narratives can potentially be enriched through real time externalising of self using biometric data and how they could influence the user’s behaviour through a qualculative sense, Thrift (2004) as well as helping improve well being. I progress to examine narratives that are explored through future wearable computer prostheses and discuss potential narratives relating them to how they could enhance immersion for an electronomad, (Matsuda, 2010) user in the environment with feelings of joy and satisfaction. I then relate these overall ideas to those of hyperreality and examine how they could serve to build what Bachelard (1958) calls a “poetic image”, a space within a dwelling to which users can use for escaping to a daydream, or a connection to the real world and that of a fantasy or a dream.

Virtual Creativity, 2018

Digital domains render possible new forms of narrative creativity. This article explores to what extent it is practicable to inform the invention of new storytelling techniques in location-based media, such as augmented reality (AR). When carrying out research and development with explorative storytelling in indirect AR one often encounters a recurring problem. When digitally reconstructing and displaying sequences of historical events in situ, a paradox tends to emerge. While the linear sequence of actions and events might often benefit from in-depth information on historical contexts of various sorts, the moment the user embarks on a contextual digression to seek a better understanding, the sequence itself is abandoned and/or fragmented. This is a type of conflict where the designer must make difficult choices to provide a prolific story experience. How may we best combine and balance sequence and access, storytelling and in-depth exploration to the benefit of rich locative perceptions and adventures? In the following article we consult narrative theory to find a design and implement the solution in three different simulations of on-site historical events. These are selected from antiquity and the Second World War. We discuss the challenges and elucidations so far, as well as feedback from visitors testing the situated simulation AR applications on location.

2005

"The Lost Cosmonaut is an interactive narrative based on digitally enhanced paper. This technology uses an electronic pen to mediate between paper and computer. Thus any actions of the pen on the paper can be captured and manipulated by a computer as well as we can map digitally controlled events onto paper. The story in this narrative environment reveals itself partially through written text and images on the paper surface just as any other printed story. However, additional information in form of digitally controlled outputs such as sound, light and projections can be accessed through interaction with pen and paper. Furthermore the audience is not only supposed to read and otherwise perceive information, we also want them to actively produce content for this environment by writing onto the paper. By doing so they also add content to the database containing the digital output at the same time. Hence we produce a complex multimedia environment that works on three levels: On paper, in a digitally controlled visual and acoustic environment and in the combination of both worlds. Last but not least this environment is an open system, which grows as a collaborative effort over time as each user adds his own entries to paper and database. We argue that using paper as an integrated part of a digital environment is a best-of-both-world approach that opens up new possibilities for producing and perceiving narrative." A video about the system can be found at: https://www.academia.edu/11583680/The_Lost_Cosmonaut_Interactive_Narrative

Lecture Notes in Computer Science, 2005

The Lost Cosmonaut is an interactive narrative based on digitally enhanced paper. This technology uses an electronic pen to mediate between paper and computer. Thus any actions of the pen on the paper can be captured and manipulated by a computer as well as we can map digitally controlled events onto paper. The story in this narrative environment reveals itself partially through written text and images on the paper surface just as any other printed story. However, additional information in form of digitally controlled outputs such as sound, light and projections can be accessed through interaction with pen and paper. Furthermore the audience is not only supposed to read and otherwise perceive information, we also want them to actively produce content for this environment by writing onto the paper. By doing so they also add content to the database containing the digital output at the same time. Hence we produce a complex multimedia environment that works on three levels: On paper, in a digitally controlled visual and acoustic environment and in the combination of both worlds. Last but not least this environment is an open system, which grows as a collaborative effort over time as each user adds his own entries to paper and database. We argue that using paper as an integrated part of a digital environment is a best-of-both-world approach that opens up new possibilities for producing and perceiving narrative.