By Andrew Stern (auth.), Ulrike Spierling, Nicolas Szilas (eds.)

This booklet constitutes the refereed court cases of the 1st Joint foreign convention on Interactive electronic Storytelling, ICIDS 2008, held in Erfurt, Germany, in November 2008.

The 19 revised complete papers, five revised brief papers, and five poster papers awarded including three invited lectures and eight demo papers have been rigorously reviewed and chosen from sixty two submission. The papers are equipped in topical sections on destiny views on interactive electronic storytelling, interactive storytelling functions, digital characters and brokers, person event and dramatic immersion, architectures for tale iteration, types for drama administration and interacting with tales, in addition to authoring and production of interactive narrative.

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Additional info for Interactive Storytelling: First Joint International Conference on Interactive Digital Storytelling, ICIDS 2008 Erfurt, Germany, November 26-29, 2008 Proceedings

Example text

The AudioMove concept is structured as a single user experience, while the Mobile Urban Drama concept presented in this paper can be both single and multi user experiences. These plays are to our knowledge among the world’s first applications of mobile phones for location-based theatre/drama. Only few previous examples of using phones for drama exist. The most prominent example launched in 2005 by the German theatre collective Rimini Protokoll, as the world’s first mobile phone theatre. The play was entitled “Call Cutta” [15] and took place in Kolkata, Calcutta, India.

Fig. 2. A plot graph illustrating the basic elements of the framework. The plot is represented as a directed graph with guards that control possible paths. g. g. g. g. 1 | 2). The plot graph is a directed graph with nodes corresponding to events and edges specifying the valid ordering of the events. The plot graph must contain one or more start (S) and end events (E), where the story can begin and end, and any number of edges between the event nodes. The drama can be constructed as anything from a linear path through the nodes without any branches to a highly connected graph where the user freely can chose the next branch at each node.

Instead, our system leverages the massive amounts of users who provide this knowledge, not in any logical form, but in plain English that takes no special skill to contribute. 5 Conclusions In this paper we have presented a new type of interactive storytelling architecture that is unique both in its user interaction model and in the way the system models the story generation process. The sample output and coherence ratings show that there is still a long way to go before high quality stories are capable of being produced.

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