The Emergent Narrative theoretical investigation

This paper is part of a work in progress that aims to define a narrative theory adapted for optimal use in the Virtual Reality (VR) medium. In addition to theoretical results and findings on the development of an Emergent Narrative (EN) concept, the authors present their convictions regarding Virtual Storytelling (VS) and narrative consideration. Finally, an Emergent Narrative model is described along with a discussion on the novelty of the concept. Introduction In recent years, the AI community has shown a growing interest in storytelling and Interactive Storytelling (IS) and has been developing projects and theories in a number of areas [6, 7, 16, 17, 18, 20, 21]. Amongst them is the concept of Emergent Narrative (EN). Introduced by Aylett in 1999 [2], the concept has been developed at both the NILE00 and the NILE02 conferences [3, 12]. The research currently being conducted on EN is also implicated within the European Framework V project VICTEC (Virtual ICT with Empathic Agents) [23] and the European Network of Excellence project HUMAINE (Research on Emotions and HumanMachine Interaction) [11]. The EN concept aims at a potential answer to the narrative paradox [3] observed in 3D Virtual Environments (VE) and graphically represented Virtual Storytelling systems. EN seeks a character-based approach as opposed to a plot driven approach for IS and the construction of systems in which users actively participate in the narrative process in a highly flexible realtime environment, where authorial activities are minimised. The development of the story is managed by both the user and embodied Intelligent Agents and depends entirely on the interactions between each other and their environment. The research aims at finding and developing a narrative structure appropriate to the specific characteristics of Virtual Environments, combining the entertainment values of both storytelling and virtual experiencing. Furthermore, research into the Emergent Narrative concept has been targeted at its potential in terms of entertainment, education and pedagogy. It could potentially greatly impact the design and game-play of video games or interactive entertainment performances. In addition, since a number of educational methods use themes and storytelling to engage people’s emotions, one could see the study and use of narrative as a pedagogical tool for the development of Personal and Social Education (PSE) [10, 24, 25]. The Emergent Narrative concept could provide opportunities for educational and pedagogical material to be presented within a compelling, interactive and immersive Virtual Environment [23]. Part I: The Emergent Narrative Investigation The theoretical work involved with the development of an Emergent Narrative theory relates to previous and current research and theoretical work, most of which originate in different research domains. This investigation requires the researcher to consider stories and narratives from a high level of abstraction in order to capture their essence. Stories and narratives are extremely complex processes involving interactivity, character representations, narrative dynamics, user experiences, decision-making processes, participative narrative forms and affective and social behaviours. It is also necessary to consider how far the more classic and traditional narrative theories can be applied to this view of narrative. An Emergent narrative model is also multi-dimensional since several essential parameters such as space, time, narrative surface, user role and the nature of narrative controls have to be taken into account. 1.1: Interactive storytelling considerations As discussed in previous publications [4, 12, 13, 14, 15], classical narrative approaches [1, 5, 19] have little to contribute in practice to a theory of emergent narrative. There are a number of reasons for this. The role of the user is a key issue in interactive storytelling, with whether the user is considered as an author or a participant within the story having a major impact on theoretical approaches. The contradiction between authorship and participation is an important element of the narrative paradox previously mentioned. On the one hand an author seeks control over the direction of a narrative in order to give it a satisfying structure. On the other hand a participating user demands the autonomy to act and react without explicit authorial constraints. Casting the user either as a spectator, with no ability to act, or as the author him or herself avoids this problem, however it does not offer a solution for a participating user in real-time interaction within a narrative display. It also limits the storyline to a single entity. We argue that a serious consideration of the user as participant can actually present a solution to the narrative paradox, in the sense that it would encourage the emergence of several storylines while still leaving the user with the responsibility of conducting real-time meaningful actions within the unfolding narrative. The narrative paradox observed in 3D environments is a constraint only if the storyline of the narrative is one single entity to which all characters and the user must conform. Such problems do not occur when the storylines are multiple and opened to emergent behaviours and events. However, such a user approach implies that the story must be designed in a way that enables the narrative to emerge from the interactions between the different characters, the user and their individual storylines. Such a narrative design refers to the principles of storyfication,[3] in which the experience of a character is internally transformed into story, and argues for a dynamic and synthetic rather than a static and analytical approach to narratives. A process view of narrative can only at best provide a provisional instance of the overall storyline or plot. Although themes and character descriptions are authored, the storyline emerges from their interactions with each other and the user and cannot be completely predicted. Characters are motivated by their personality traits and personal characteristics and build the story as they interact with each other. This particular view of narrative is fundamentally opposed to the Aristotelian classical view of narrative [1] and argues for a character-based rather than a plot-based approach for interactive performances [4, 12, 13, 14, 15]. A character-based approach focuses on character definition rather than plot construction, and the authorial process relies on the articulation and control of interesting characters rather than the generation of plot events. 1.2: Participative narrative findings Since classical narrative theories and models are mainly analytical, they do not offer practical mechanisms to deal with interactivity and user integration. The investigation of the Emergent Narrative concept, in accordance with its premise of the user as a participant rather than a spectator or author, has been mainly oriented towards the study of interactive and participative narrative and performance forms and models. Genres such as Role Playing Games (RPGs), interactive and street theatre or video games are all of potential relevance to the development of an Emergent Narrative theory. RPGs lie mainly in the realm of entertainment although RPGs can be used for pedagogical purposes [10] and the lack of resources such as research works, literature or publications makes its investigation challenging. There are also a wide range of games and mechanisms for which it is difficult to produce comprehensive definitions of types and categories. The selected approach for this study is empirical and aims at identifying narrative patterns, elements or factors influencing the creation, development and unfolding of dramatic narratives and stories, using the knowledge acquisition software KAT [8]. The success of such an approach depends heavily on the quality and level of expertise of the expert involved: the results displayed in this paper are based on knowledge elicitation sessions conducted with experienced RPG Game-Masters and writers over a 12 month period. In the study three different types of RPGs were considered for certain specific reasons. Firstly, board RPGs were studied. Board RPG is played with fictive characters, sometimes actually with board-sized models, and is organised as a campaign; the game is composed of several sessions and usually involves a quest with a group of largely cooperating characters. The interest of this genre lies in their episodic nature and the way they handle narrative events and character development. Secondly, conflicting RPG was researched. Conflicting RPG is a variant played with conflicting character goals and personalities over a short period in a single session and is of interest for its management of narrative tension and narrative set up. Finally, Live RPG was analysed: Live RPG is played in the real world in the same type of spirit as historical re-enactment, and is relevant for its management of narrative controls on a real-time basis. When first investigating the field of RPGs it became apparent that they shared a lot in common with the concept of Emergent Narrative and that a lot could be drawn from existing practice. Areas of the theory that are the most susceptible to be influenced by RPGs are the ones that are concerned with story management, narrative control and character definition, roles and motivations. The way the story unfolds is emergent and fits perfectly with our vision of an Emergent Narrative theory. However, the level of cognition necessary for the GameMaster role in managing and supporting this process seems beyond reach as far as Artificial Intelligence and intelligent agents are concerned. Thus the study of board RPGs on its own does not provide enough elements for a realistic theory of emergent narrative. The time dimension and particularly real-time interaction is a very important element that dramatically a