Proposal for analyzing player emotions in an interactive narrative using story intention graphs

Many contemporary interactive digital narratives consist of cinematic content that combines performance, sound and dialogue with conventional patterns of player interactions that dictate the story path. The non-linear nature of the content makes applying methods of annotation and analysis currently used in text and film challenging, as any particular experience may differ in significant ways and a player's response may occur at different times in the experience while still applying to a particular event. As a result, most studies approach analyzing player experience using either qualitative methods or quantitative methods alone, and often these studies focus on experimental systems. We developed a coding scheme that captures opportunities and decisions and provides hooks for annotating story content and player affective response. We plan to annotate recorded player traversals of The Wolf Among Us, a choice-based adventure game, incorporating a non-verbal report method, the Sensual Evaluation Instrument [6], guided by a text-based intermediate format that models the game logic. We use David Elson's Story Intention Graph to annotate the story content [2]. The proposed study will be evaluated by whether the responses capture salient story content between different traversals effectively. We describe a proposed baseline method of manually identifying shared story segments and tagging emotional content of scenes.

[1]  Clara Fernandez Vara,et al.  The tribulations of adventure games: Integrating story into simulation through performance. , 2011 .

[2]  Andrew Stern,et al.  Integrating Plot, Character and Natural Language Processing in the Interactive Drama Façade , 2003 .

[3]  Kristina Höök,et al.  Using the Sensual Evaluation Instrument , 2009, Digit. Creativity.

[4]  Mark A. Finlayson,et al.  Supplementary Materials for "A Survey of Corpora in Computational and Cognitive Narrative Science" , 2014 .

[5]  J. G. Tanenbaum,et al.  Being in the Story: Readerly Pleasure, Acting Theory, and Performing a Role , 2011, ICIDS.

[6]  Michael Mateas,et al.  The Eurekon: A Design Pattern in Expressive Storygames , 2014 .

[7]  Gareth Schott,et al.  Feedback-based gameplay metrics , 2013, FDG.

[8]  Richard Evans,et al.  Versu—A Simulationist Storytelling System , 2014, IEEE Transactions on Computational Intelligence and AI in Games.

[9]  Jeff Orkin,et al.  Semi-automatic task recognition for interactive narratives with EAT & RUN , 2010, FDG.

[10]  Kathleen R. McKeown,et al.  Modeling Narrative Discourse , 2012 .

[11]  Nicolas Szilas,et al.  Objective Metrics for Interactive Narrative , 2014, ICIDS.

[12]  Michael Mateas,et al.  Playspecs: Regular Expressions for Game Play Traces , 2021, AIIDE.

[13]  Kristina Höök,et al.  The sensual evaluation instrument: developing an affective evaluation tool , 2006, CHI.

[14]  Magy Seif El-Nasr,et al.  Experiencing interactive narrative: A qualitative analysis of Façade , 2013, Entertain. Comput..

[15]  Jonne Arjoranta Real-time hermeneutics: meaning-making in ludonarrative digital games , 2018 .

[16]  Noah Wardrip-Fruin,et al.  Expressive Processing: Digital Fictions, Computer Games, and Software Studies , 2009 .

[17]  Noah Wardrip-Fruin,et al.  Expressive processing: on the process-intensive literature and digital media , 2006 .