## 1 Introduction  
Over recent decades, information and communication technology (ICT) has been instrumental in transitioning contemporary societies into an information-based ecosystem, in which technologies reshape how individuals manage and disseminate information while facilitating synchronous communications [1, 2]. In this context, emerging ICTs in strategic areas such as education, health, governance, and the economy are increasingly recognized for their role in facilitating the delivery of interactive content. Scholars indicate that it is the dynamic interaction enabled by ICT that drives effective interventions, innovations, and improvements in these sectors [2]. Specifically, this recognition underlines the importance of interactive design in leveraging ICT for societal benefit. Given that ICT has been experiencing transformations in communication, the digital gaming industry, which congregates technological foundations and interactive recreation, constitutes a pertinent model for observing technological innovations in this culturally intricate artifact [3; 4]. Inherently, video games demonstrate how digital communication technologies operate within the ICT framework while processing enhanced narratives for enriching user interfaces [3; 4; 5]. In consequence, adaptive video game narratives driven by ICT innovations have precipitated interactive design into a broader technological context. These contemporary transitions require explorations into the dynamics between human interactions and digital narrative construction. Specifically, the narrative-driven catalysts of augmented immersion and participation in these experiences remain awaiting further elucidations [5]. Prompted by the reevaluations regarding interactive narratives, the evolving interactive designs have increasingly focused on burgeoning characteristics of narrative, specifically on the embedded human-computer interactions within digital narrative construction [5; 6]. This growing interest is unsurprising, as interactive design incentives players to actively involve in structural narrative facilitated by techniques and relevant technological innovation; thus, this hybrid engagement associates with decentralized agency of players [7; 8]. Reinforcing this perspective, [PERSON] [9] applies performance art theory to the video game context, supporting that the application of adaptive dramatic techniques effectively amplifies narrative interaction. In this context, the digital system generates and presents narrative in response to players' input and external critiques, forming an integral interactive experience [7; 8]. As a result, the narrative fluidly responds to player actions, maintaining engagement through techniques influenced by dramatic principles [9]. [PERSON] and [PERSON] [7] further corroborate that the interactive narratives result in fostering players' agency over story development and a deeper immersion into the virtual world. Deducing from these ramifications, player agency inevitably orients the interpretation of narratives. [PERSON] [8] contends that, besides the fact that players' cognitive perceptions of narrative meaning vary greatly depending on the context, antecedently existing narrative techniques also manipulate players' interpretation imperceptibly. In other words, actions that appear as story techniques have been shaped by designers in the form of embedding in surrounding plots, ending up leveraging narrative functions [10]. For instance, a seemingly simple act may be deemed as an act of villainy in one context, while in opposite evaluating frames, it may be regarded as a heroic deed. Such contextual framing demonstrates how narrative techniques deliver meanings through their cooperation with the broader story structure [6]. Correspondingly, given that players engage with games by interacting with the narrative mechanism, we suggest that the narrative techniques of video games are deeply intertwined with ICT innovations and player agency.