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You.are the story - Derek Woodgate



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  • 1. Interac(ve  Storytelling  Derek  Woodgate  
  • 2. Interac(ve  Storytelling  is  a  form  of  digital   entertainment  in  which  users  create  or  where  users  can  influence  a  drama(c  storyline  through   ac(ons,  either  by  issuing  commands  to  the   storys  protagonist,  or  ac(ng  as  a  general   director  of  events  in  the  narra(ve.  Interac(ve   storytelling  is  a  medium  where  the  narra(ve,  and  its  evolu(on,  can  be  influenced  in  real-­‐(me   by  a  user.  
  • 3. Redefining  meaning  and  context   Plot   Engagement       Story     Storytelling   User     interac3on    
  • 4. Drivers  and  influencers  —  New  technologies    —  Design  skills  /  approaches  —  Social  change  —  Hybridiza(on  and  convergence  —  Cogni(ve  and  the  behavioral  sciences  —  User  interfaces   The  user  is  the  story  
  • 5. From  gaming  to  interac(ve  narra(ve  spaces    —  Non-­‐linear  –  post-­‐structuralist  —  Abstract  –  nomadic  —  Remix  lifestyles  —  Transmedia  —  Mixed  reality  —  Collabora(ve  interplay  and  improvisa(on  —  Extension  of  how  narratology  and  ludology  intersect  
  • 6. From  programmable  movies  to  simulated  reali(es    —  Interference  and  guidance  —  Alterna(ve  plots  and  storylines  —  Spa(al  transforma(on  —  Programmable  environments  —  Dialog  management  —  Cogni(ve  feedback  and  explora(on   The  user  designer  
  • 7. The  IS  designer  —  Narra(ve  genera(on  engine/system  (including  inbuilt  constraint   selector  and  poten(al  for  different  POV)  —   Authoring  tools    —  3D  Computer  graphic  soXware/  3D  modelers  /  anima(on    —  camera    —  visual  rendering  system  —   interac(on  mechanism  between  mul(ple  agents,  etc  —   interac(ve  authoring  interface  /  hap(cs  —   representa(on  soXware/script  language    —  iden(fica(on  and  “registra(on”  system,     The  never-­‐ending  —  A.I.planner,  etc.   list  
  • 8. AI  and  machine  learning  —  Human  computer  interac(on:  pro-­‐ac(ve  and  responsive   ac(ons  —  Convergence  of  skills,  performance,  analysis  and  adjustment  –   improving  the  user  experience  —  Pathfinding  and  planning  (incl.  non  player  characters)  —  Natural  behavioral  language  for  story-­‐based  believable  agents  —  Interac(ve  actors  —  Affec(ve  compu(ng  —  Social  engineering  of  characters  —  Reinforcement  learning  —  Resource  gathering  
  • 9. Character  building  /  agents  
  • 10. LA  Noir:  adding  emo(on   • Facial  emo(on   • Real-­‐world   actors  on  the   digital  stage   • Morality   systems   • Good   conversa(ons  
  • 11. The  Watchman  _  synthe(c  characters  —  CG  moves  into  the  future  —  Digitally-­‐replicated  actors   wholl  go  on  performing  long   aAer  the  actor  is  gone  —  Rewri3ng  the  story  —  Bringing  back  deceased  actors  
  • 12. Avatar  –  super  imposing  actors  —  Crea(ng  an  en(re  world  with   computer  graphics  and  then   directly  integra(ng  ac(ng   performances  —  Japanese  Telexistence  surrogate   Antropomorphic      —  Head  gear,  gloves  ,  vests  with   control  gear  
  • 13. On-­‐set  mo(on  capture  
  • 14. The  hologram,  the  performer,  the  projec(on  
  • 15. Touchable  holograms  —  An  array  of  computer-­‐controlled   ultrasonic  wave  emiaers  with   fine  points  that  emit  pulses  of   air  that  feel  like  pressure  on   your  hand.    —  System  knows  where  your  hand   is  –  behavioral  feedback.    —  The  sensa(on  of  weight  and   texture.  
  • 16. Interac(ng  with  holograms  
  • 17. body>data>space  
  • 18.    Next-­‐Genera3on  Synthe3c  Performers     —  Introducing  levels  of  autonomy  into  the  synthe(c   performer  (such  as  eye  contact,  facial  and  gestural   movement,  and  lip  sync),     —  enabling  more  flexible,  engaging,  and  directable  robot-­‐ mediated  performance  on  the  set.   —  Second  Skin  is  a  project  to  build  a  wearable  fabric  that   supports  millimeter-­‐accurate  loca(on  and  bio-­‐parameter   tracking  at  thousands  of  points  on  the  body.     —  Such  a  fabric  can  compute  and  predict  3-­‐D   representa(ons  of  human  ac(vity  and  use  the   informa(on  to  augment  human  performance.    
  • 19. Remote  interac(on  with  a  robot  —  Robo(c  avatars  will  allow  humans  to  fully   experience  the  environment  of  other   worlds.  —   Through  the  eyes  of  robo(c  avatars  we   will  watch  the  sunrise  over  the  rusty,  red   crater  rims  without  having  to  "experience   suffoca(on,  the  icy  death  of  -­‐200  degrees   C  on  their  skin  or  the  s(ng  of  microscopic   dust  in  their  eyes.”  
  • 20. Learning  the  character’s  soul   Revisi(ng  “Creatures”  and   Black  and  White”  –  the   interac(ve  storytelling   learning  versions.     Game  characters  that  can   predict  the  behavior  of   players  
  • 21. The  fantas3c  flying  books  of    Mr.  Morris  Lessmore  
  • 22. Interac(ve  for  the  ipad  version  
  • 23. Interac(ve  Storytelling  in  music  videos  —  Moonbot  Studios  and  The   Polyphonic  Spree  together  have   created  an  interac(ve,  character-­‐ based  narra(ve  music  video.       Features:   -­‐  Seamless  world  of  interac(on   -­‐  Touch  clouds,  plants  and  animals  to  life   -­‐  Evolving  visuals  that  change  with  the  music   -­‐  Follow  and  interact  with  a  creature  named   You-­‐Me   -­‐  Tilt  your  device  to  sway  You-­‐Me  as  he  falls   -­‐  Choose  between  the  Studio  or  Acous(c   song  tracks  
  • 24. Context  based  interac(ve  storytelling  
  • 25. Heavy  Rain  —  Interac(ve  narra(ve  if  the  choices  we  can  make  are   merely  altering  specific  events  rather  than  the  actual   context.  Surely  the  whole  point  of  having  the  story  play   out  differently  depending  on  player  choices  is  to  add   replay  value.  
  • 26. Programmable  movies  —  Movies  that  change  with  context  (observer,  emo(ons,   place,  or  (me).    —  Long-­‐  Distance  Barcodes  work  to  make  both  cameras  and   the  world  more  intelligent,  by  allowing  users  to  piece   together  and  merge  separate  images  using  metadata   encoded  into  the  image.    —  This  work  will  allow  for  the  merging  of  mul(ple   viewpoints  to  create  richer  stories  from  varied   storytellers.    
  • 27. Sensing  Spaces  §   Interac(ve  reconfigurable  spaces  §   Integrated  visual,  virtual,  real  spaces    §   Use  of  robo(c  and  AI  s(mula(on  and  simula(on  §   Sensor  clusters  and  networks  to  drive  performance  cues  and  audio-­‐visual  interfaces      
  • 28. Sensing  Spaces  § Gravity  to  create  performance  effects  §   Wearable  compu(ng  to  create  performance  and  effects  synchronicity    §   Narra(ve-­‐changing  sensors  using  audience  feedback  §   Use  of  avatars  as  performer  interfaces  
  • 29. Dynamic spatial interfacesInterac(ve  installa(on  uses  dynamic  spa3al  interfaces  and    a  human-­‐scale  display  system  to  allow  visitors  to  explore  the  photographic  work  of  ar(st  Ta(ana  Parcero  on  mul(ple  levels  of  their  own  choosing.    
  • 30. Interac(ve  storytelling  in  annotated  environments  —  iRiS  (Immediate  Remote   Interac(on  System  —  User  can  “paint”,  create  a   game  like  a  jigsaw  puzzle,  an   interac(ve  story  with  one  or   more  par(cipants  on  a  façade   from  a  mobile  device.    —  ANW  (ar(culated  Naturality   Web  and  computer  vision  
  • 31. Interac(ve  human  body  museum  •  Tac(le  interac(ve  museum  experience   that  takes  visitors  through  the  spaces   inside  their  own  bodies.  •  At  the  museum  you  can  experience  hay   fever  from  inside  the  nose,  replete  with   a  rollicking  sneeze.    •  You  can  don  3D  glasses  and  watch  as   cartoon  sperm  fer(lize  an  egg.  You  can   bounce  your  way  across  a  rubber   tongue  as  you  navigate  taste  buds  and   hear  burps  welling  up  in  the  deep.  
  • 32.        Adding  affect  and  atmosphere     —  Programmable  surfaces  and  addi(onal  displays   —  New  hap(cs,  with  gesture,  smell,  vibra(on  and  temperature   amplifica(on   —  Immersive  and  responsive  /  Reac(ve  video  and  portraits   —  Socially  aware  systems,  ambient  and  interac(on  enhancers   such  as:  causal  mappings  between  past  and  future  events  or   between  an  ac(on  and  its  reac(on   —  Programmed  atmospheres  and  aesthe(c  visual  effects  
  • 33.            Situa(on  awareness    and  Behavioral  iden((es     —  Ambient  detec(on  -­‐  tools  to  share  habits     —  Annotated  environments  and  Distributed  Interac3ve  Video   Arrays  for  Event  Capture  and  Enhanced  Situa3onal  and   Interac3ve  Awareness   —  Human  dynamics  and  emo(on  modeling  -­‐  affec(ve  and     cogni(ve  percep(on,  feedback  and  awareness  -­‐  modeling   social  interfacing  and  feedback  -­‐crea(ng  behavioral  iden((es  
  • 34. You are the performance-­‐ SpherAleas  device  –  mobile  device  with  sensors    that  create  sonorous  shapes  -­‐ The  Theater  of  the  Senses  -­‐  "Echo  of  the  Shadow,”  Audience  par(cipa(on  in  a  labyrinth  of  performances  -­‐  Hidden  Worlds  of  Noise  and  Voice  (voice  to  vision)  
  • 35. Projec(ng  yourself  into  the  game  —  Being  There    —  This  projector-­‐based  approach  provides  a  way  to  visualize   re-­‐crea(ons  of  real  and  imaginary  sites  that  are  both   visually  and  spa(ally  realis(c.    —   Users  have  a  strong  sense  of  immersion  and  natural   interac(on  as  they  walk  around  a  virtual  site.    
  • 36. Cameras  —  Computa(onal  Cinematography  and  Display:    —   -­‐  future  cameras  for  able  to  share  visual  content,  and   crea(ng  4-­‐D  and  6-­‐D  displays  for  richer  collec(on  and   presenta(on  of  informa(on.    —  Video  of  the  future  (video  manipula(on,  video  coding,   3D,  and  perceptual  studies),  computa(onal   cinematography,  human  and  facial  anima(on,  and   capture  technologies.  —   Addi(onal  strengths  include  wireless  networking  and   computa(onal  materials  
  • 37. Sensor  robots  —  Capturing  3D  models  of  environments,  outdoor  and   indoor,  and  capturing  ac(vity  that  is  happening  in   environments,  using  cameras  mounted  on  mobile  robots.   A  new  mode  of  deploying  computer  vision  is  now   appearing  as  autonomous  robots  
  • 38. Displays  —  Interac(ve  /  HolographicTV  —  No  border  screens  —  Roll  out  portable  OLED  screens  
  • 39. Morphable  movie  studios  —  This  technology  allows  one  physical  space  to   represent  a  variety  of  things.    —  Projects  involve  techniques  to  augment  and   programmatically  change  the  appearance  of   physical  objects.  —  The  physical  object  is  illuminated  with  a  data  (or   video  or  slide)  projector.    —  The  images  to  be  projected  are  computed  with  a   3-­‐D  graphics-­‐rendering  program.  This  allows  you   to  change  the  appearance  of  real  objects,  adding   special  effects  to  the  world  around  you.    
  • 40. Mobile  projec(on:  Electric  Poetry  A  web  interface  for  construc(ng  poems  to  be  broadcast  in  real-­‐(me  on  the  walls  of  Londons  underground  sta(ons,  for  London  Transports  Plalorm  for  Art    Similar  to  the  popular  f  ridge  game,  people  assemble  words  into  poems  which  then  appear  in  public  or  commercial  spaces  around  the  city    
  • 41. Storyteller  —  Storyteller:  Tools  and  technologies  developed  into   toolkits  for  children  to  empower  them  craX  their  own   compelling  stories  and  characters  to  foster  crea(vity   and  learning  goals.    —  Researchers  will  also  leverage  synthe(c  performer   technologies  to  create  compelling  robo(c  or  virtual   characters  that  serve  as  learning  companions  for   children  
  • 42. Educa(on  
  • 43. Interac(ve  storytelling  infancy  —  Interac(ve  Storytelling  technologies  in  terms  of  performance   and  scalability  —  To  make  the  next  genera(on  of  Interac(ve  Storytelling   technologies  more  accessible  —  To  develop  a  more  integrated  approach  to  interac(ve   storytelling  technologies  —  Methodologies  to  evaluate  interac(ve  storytelling  systems  as   well  as  the  media  experience  of  interac(ve  narra(ve  
  • 44. Going  forward  —  Performance  and  scalability  —  Adap(ng  to  new  IS  and  user  desires  —  Adap(ng  new  hybrids  of  converged  mix  media  and   technologies  —  Pumng  the  human  in  the  landscape.  —  There  are  roles  of  the  integra(on  of  IS  in  so  many   different  areas  –  think  beyond  gaming  and  film   Past  –  Present  -­‐  Future  
  • 45. Assassin  Creed  3