Relevant bibliographies by topics / Narrative design

Academic literature on the topic 'Narrative design'

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Published: 4 June 2021
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Journal articles on the topic "Narrative design"

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Rutherford, Brian A. "Narrating the narrative turn in narrative accounting research:." Meditari Accountancy Research 26, no. 1 (April 9, 2018): 13–43. http://dx.doi.org/10.1108/medar-04-2017-0139.

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Purpose This paper aims to analyse the nature and extent of convergence within the literature of the narrative turn in narrative accounting research. Design/methodology/approach The paper offers an actor–network–theoretic perspective drawing on Latour’s theory of citation and Shwed and Bearman’s development of that theory to analyse patterns of convergence. Findings The paper finds that across the exemplars of narrative turn research examined, there is only a limited level of epistemic engagement so that exemplars achieve their status without undergoing trials of strength. Research limitations/implications The paper argues that the resources of the relevant academic community are spread so thinly that each seam – each research question, methodology or method and research context – is mined by no more than a small handful of researchers unable to generate a meaningful volume of contestation. Steps are suggested to better focus research activity. Originality/value The use of Latour’s theory of citation to analyse patterns of convergence in accounting research is innovative. The paper proposes a substantial change in the community’s approach to narrative turn research on accounting narratives.
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Jordan, Patrick W., Andy Bardill, Kate Herd, and Silvia Grimaldi. "Narrative and Design for Wellbeing: A User-Centered Approach." ACTIO Journal of Technology in Design, Film Arts and Visual Communication, no. 4 (October 5, 2020): 85–107. http://dx.doi.org/10.15446/actio.n4.96251.

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The narratives that we have about our lives can affect our wellbeing. The Products and services that we own or use can play a role in these narratives (Jordan, Bardill, Herd and Grimaldi, 2020) – the car that says "I am a success", the toy that says "I am a good parent" or the customer-care that lets me know that "I am not important.” In an exploratory study, 41 undergraduate students described experiences with two different products or services – one that enabled and one that failed to enable a desired narrative. These 82 case studies were analysed to explore concepts relevant to narrative in the context of product and service use. We identify six different ways in which a product or service can enable a narrative, evaluate Jung’s archetypes as a means of narrative classification, and explore the roles of products and users in enabling stories. The implications for user research and design are explored.
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Jordan, Patrick W., Andy Bardill, Kate Herd, and Silvia Grimaldi. "Enabling narrative through design." International Journal of Human Factors and Ergonomics 8, no. 1 (2021): 85. http://dx.doi.org/10.1504/ijhfe.2021.115047.

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Grimaldi, Silvia, Kate Herd, Andy Bardill, and Patrick W. Jordan. "Enabling narrative through design." International Journal of Human Factors and Ergonomics 8, no. 1 (2021): 1. http://dx.doi.org/10.1504/ijhfe.2021.10037458.

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Trocchianesi, Raffaella, Davide Pinardi, and Angela De Marco. "Design and Narration: Languages, structures and narrative models as matter for design." Strategic Design Research Journal 4, no. 2 (October 4, 2011): 59–68. http://dx.doi.org/10.4013/sdrj.2011.42.04.

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Lu, Amy Shirong, Melanie C. Green, and Debbe Thompson. "Using Narrative Game Design to Increase Children’s Physical Activity: Exploratory Thematic Analysis." JMIR Serious Games 7, no. 4 (November 21, 2019): e16031. http://dx.doi.org/10.2196/16031.

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Background Physical activity is crucial for child obesity prevention and intervention. Narratives embedded in active games can increase children’s physical activity. Objective Little is known about the narrative characteristics that would motivate children to exercise. We attempted to fill the gaps in understanding regarding narrative design for active video games. Methods In this exploratory study, four animated narratives of different genres were professionally generated. Children (N=41) between the ages of 8 and 12 years were interviewed to identify their preferences. Sessions were digitally recorded, transcribed, and analyzed using exploratory thematic analysis. Results Findings revealed that the children rated the dystopian science fiction story as their favorite across all weight, race, and gender groups. The physical activity-friendly narrative strategies included virtuous characters, extraordinary character actions, interesting plots, super powers, and engaging cliffhangers. Alternatively, information not related to physical activity, difficult-to-follow plot lines, passive protagonists, and repetitive narrative tropes were less appealing for physical activity. Conclusions This research provides preliminary evidence that narratives have characteristics that may increase child physical activity when playing active games. Future empirical studies should verify and test these design principles.
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Si, Mei, and Stacy C. Marsella. "Encoding Theory of Mind in Character Design for Pedagogical Interactive Narrative." Advances in Human-Computer Interaction 2014 (2014): 1–10. http://dx.doi.org/10.1155/2014/386928.

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Computer aided interactive narrative allows people to participate actively in a dynamically unfolding story, by playing a character or by exerting directorial control. Because of its potential for providing interesting stories as well as allowing user interaction, interactive narrative has been recognized as a promising tool for providing both education and entertainment. This paper discusses the challenges in creating interactive narratives for pedagogical applications and how the challenges can be addressed by using agent-based technologies. We argue that a rich model of characters and in particular a Theory of Mind capacity are needed. The character architect in the Thespian framework for interactive narrative is presented as an example of how decision-theoretic agents can be used for encoding Theory of Mind and for creating pedagogical interactive narratives.
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Kaczmarczyk, Katarzyna. "Emplacing Narrative. Affect and Performativity in Architectural Narratives." Tekstualia 4, no. 43 (April 1, 2015): 113–32. http://dx.doi.org/10.5604/01.3001.0013.4249.

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The article focuses on the relations between narrative and landscape architecture and identifi es the characteristics of architecture and landscape architecture which make them distinct narrative media. The article offers analyses of the narrative aspects of two monuments (one built and one at the stage of the design): the Vietnam Veterans Memorial in Washington DC and a project entitled „A Forest”, which won the competition for a monument design to commemorate Poles who rescued Jews during the German occupation. Both monuments present challenges to narrative theory through such characteristics as performativity, processuality, interactivity and affective potential. However, such challenges should be seen as a possibility for extending the realm of narratology in new directions.
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Kaczmarczyk, Katarzyna. "Emplacing Narrative: Affect and Performativity in Architectural Narratives." Tekstualia 1, no. 3 (February 1, 2017): 81–96. http://dx.doi.org/10.5604/01.3001.0013.5931.

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The article focuses on the relations between narrative and landscape architecture and identifi es the characteristics of architecture and landscape architecture which make them distinct narrative media. The article offers analyses of the narrative aspects of two monuments (one built and one at the stage of the design): the Vietnam Veterans Memorial in Washington DC and a project entitled „A Forest”, which won the competition for a monument design to commemorate Poles who rescued Jews during the German occupation. Both monuments present challenges to narrative theory through such characteristics as performativity, processuality, interactivity and affective potential. However, such challenges should be seen as a possibility for extending the realm of narratology in new directions.
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Danko, Sheila. "Humanizing Design through Narrative Inquiry." Journal of Interior Design 31, no. 2 (January 2006): 10–28. http://dx.doi.org/10.1111/j.1939-1668.2005.tb00408.x.

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Dissertations / Theses on the topic "Narrative design"

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Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.

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Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.
We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Tessaro, Annye Cristiny. "Narrativas e games: um olhar do design literário-artístico." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21522.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Humanity has always used narratives to communicate. Over the years, theorists have realized that there was a common basic structure and formulation in the narratives that allowed stories to perpetuate and adapt in order to form new stories. The contributions of Aristotle, Vladimir Propp and Jung, based on the observation of a varied corpus of tales and fables, enabled the scholar Joseph Campbell to elaborate a narrative structure called “Hero’s Journey”, an elliptical and evolutionary cycle in which the central axis is the hero (and also its variations, such as the anti-hero). This structure is widely used in the construction of contemporary narratives which paved the way for writers such as Vogler and Mckee allowing them to propose it’s adaptation centered on the protagonist-hero for literature and cinema. From the 1970s, with the evolution towards an interactive possibility, the entertainment industry began to incorporate, although modestly, the narrative as a possibility to improve the immersion in games using, most of the time, the Writer’s Journey (structure adapted by Vogler) as a parameter for the construction of narratives in games. However, it is essential to realize that games have specific peculiarities, besides a high content of interaction differing from other media and, therefore, its structure can not be conceived in the same way as it was proposed by Vogler, requiring an adaptation which addresses such particularities. In addition, usually professionals who engage in storytelling for games are screenwriters (which does not seem to be the most appropriate because the art of narrative goes beyond the script), or are writers (who mostly lack specific knowledge and qualification in the games area). Considering what was stated above, we argue for the adoption of a Narrative Designer (term created in 2006 by Game Designer Stephen Dinehart) to designate this professional whose knowledge involves multiple skills – such as programming, art and writing – combining the areas of Narratology, Ludology, and Game Design. Thus, the purpose of this thesis is to investigate conventional narrative structures and how they are presented in games, which are the elements and tools that can help the narrative designer in the creative process
A humanidade sempre se utilizou de narrativas para se comunicar. Ao longo dos anos, os teóricos perceberam haver nas narrativas uma estrutura e uma formulação básica comum que propiciava que as histórias se perpetuassem e se adaptassem formando novas histórias. As contribuições de Aristóteles, Vladimir Propp e Jung, fundamentadas com base na observação de um corpus variado de contos e de fábulas, possibilitaram ao estudioso Joseph Campbell elaborar uma estrutura narrativa denominada “Jornada do Herói”, um ciclo elíptico e evolutivo no qual o eixo central é o herói (e também suas variações, tal como o anti-herói). Essa estrutura é amplamente utilizada na construção de narrativas contemporâneas e abriu o caminho para que roteiristas como Vogler e Mckee propusessem sua adaptação centrada no protagonista-herói para a literatura e o cinema, Com a evolução das possibilidades interativas, a indústria de entretenimento passou a incorporar, a partir da década de 1970, ainda que modestamente, a narrativa como possibilidade de refinar a imersão nos games utilizando, na maioria das vezes, a Jornada do Escritor (estrutura adaptada por Vogler) como parâmetro para construção das narrativas em games. No entanto, é essencial que se perceba que os games possuem particularidades específicas, além de um alto teor de interação diferenciando-se das outras mídias e, portanto, sua estrutura não pode ser concebida da mesma forma como foi proposto por Vogler, requerendo uma adaptação que contemple tais particularidades. Além disso, geralmente os profissionais que se dedicam à arte narrativa para games ou são roteiristas (que não parece ser o mais adequado, pois a arte narrativa vai além do roteiro), ou são escritores (que em sua maioria não possuem conhecimento e qualificações específicas na área de games). Diante do exposto, defende-se a adoção de Designer de Narrativas (termo criado, em 2006, pelo Game Designer Stephen Dinehart) para designar esse profissional cujo conhecimento envolve múltiplas habilidades – como programação, arte e escrita – combinando as áreas da narratologia, da ludologia e do Game Design. Sendo assim, a proposta desta tese é investigar as estruturas narrativas convencionais e como elas se apresentam nos games, quais são os elementos e as ferramentas que podem auxiliar o designer de narrativas no processo criativo
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Forsberg, Liam, and Simon Östman. "Narrative structure in Persona 5 : Limiting narrative paradoxes." Thesis, Uppsala universitet, Institutionen för speldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449161.

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A narrative paradox occurs when the suspension of disbelief falters due to tension betweenthe urgency of the narrative and agency used by the player to pursue non-narrative activities.In this paper, we do a close reading on the video game Persona 5 to examine which elementsare utilised to limit or avoid narrative paradoxes. The analysis consisted of categorising thegame’s events, whereafter a few non-obligatory events from the game were chosen for anin-depth analysis. This served to find out which desire: agency, urgency, or both, the eventsmotivate through its narrative. We introduce the concept of the Plot Bubble as a tool withwhich to create narrative structures that are less prone to causing narrative paradoxes whencombined with relevant narrative elements. The narrative structure and elements of Persona 5are used as practical examples of how such design choices can motivate the player to act inaccordance with the narrative context, as well as to support this desire through the actionsavailable in the game world.
En narrativ paradox inträffar när ens upphävande av misstro fallerar på grund av en spänningmellan narrativets brådskande karaktär och behörigheten som spelaren har för att utövaicke-narrativa aktiviteter. I denna text gör vi en närläsning av TV-spelet Persona 5 för attundersöka vilka element som används för att begränsa eller undvika narrativa paradoxer.Analysen bestod utav en kategorisering av spelets händelser och därefter valdes några fåicke-obligatoriska händelser från spelet till en djupgående analys. Detta tjänade till att ta redapå vilken begäran: spelarens behörighet, narrativets brådskande karaktär, eller båda,händelserna motiverar genom dess narrativ. Vi introducerar konceptet intrigbubbla som ettverktyg till att skapa narrativa strukturer som är mindre benägna att orsaka narrativaparadoxer i kombination med relevanta narrativa element. Den narrativa strukturen ochverktygen i Persona 5 används som praktiska exempel för hur sådana designval kan motiveraspelaren att agera i enlighet med den narrativa kontexten, samt att stödja denna begärangenom handlingarna som finns tillgängliga i spelvärlden.
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Sjöström, Johan. "Morphology of a digital narrative : prototyping digital narratives using the theories of Vladimir Propp." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1929.

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This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.
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Elliott, John. "D.H. Lawrence and narrative design." Thesis, University of St Andrews, 1990. http://hdl.handle.net/10023/141.

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Lawrence's work has almost invevitably been read as an aesthetic production whereby one must eventually agree or disagree with his vision of "reality". Those who assume a formalist standard of taste often find that Lawrence "loses control" of his material; those who offer ideological apologies for his work argue that disruptions in the aesthetic plane are representative of an exploratory genius, often seen as the outstanding characteristic of literary modernism. Both approaches, explicitly or otherwise , rely on the ultimate sanction of the achieved image, transmuted by the author always in control of his material. Yet anyone who reads Lawrence with an eye to to what the "tale" says in addition to what the "teller" claims discovers that Lawrence is not in full control of his material, thought it cannot simply be argued, on aesthetic or linguistic criteria, that he is out of control. Rather, there exists a "third" state whereby Lawrence both writes and is written, gives us a message with one hand, yet retracts, as it were, with the other. Because this double-move is preeminently suited to the language of fiction, and because it appears in Lawrence's fiction with the greatest versatility and incisiveness, this dissertation analyzes six of his novels for their rhetorical significance, understood as both an organization of tropes and figures and as a system of persuasive doctrine. A new definition for allegory is proposed, the introductions of thematic and structural "blanks" is examined, and a spread of narrative delays are identified and discussed, all concerned with the central problem of writing novels that direct themselves to the resurrection of a pre-linguistic universe, yet ironically depend more and more upon writing to bring this about. Ideas drawn from Continental philosophy and recent critical theory are incorporated for support and instruction. Attention is also focused on Lawrence's revision processes, often with specific emphasis on unpublished manuscript material.
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BRANDÃO, Luis Rodrigo Gomes. "Análise da emergência narrativa em Metal Gear Solid V: The Phantom Pain." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17724.

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Devido ao diferencial da interatividade, os jogos digitais possuem um singular potencial narrativo que permitem os jogadores construírem suas próprias narrativas mesmo em gêneros lúdicos com pouca ou nenhuma história explícita. Consolidada como uma linguagem própria dos jogos digitais, a narrativa emergente usufrui princípios multidisciplinares do game design para prover a multiformidade nos games, principalmente nos gêneros sandbox e mundo aberto. Apesar do frequente questionamento da validade da experiência do jogador como uma narrativa pela indústria do entretenimento interativo, a crítica especializada e a comunidade gamer, a narrativa emergente também contém diferentes tipos e efeitos de imersão narrativa, além de atender a todas as funções narrativas, porém colocando o jogador num papel ativo e de coautoria da história. A pesquisa exploratória realizada neste trabalho identificou doze elementos emergenciais provenientes da mecânica e do comportamento dos jogadores que fomentam a narrativa emergente nos jogos digitais, servindo de base para o estudo de caso do jogo Metal Gear Solid V: The Phantom Pain. Além de servir como modelo de análise para jogos de gêneros afins, esse doze elementos emergenciais também podem auxiliar na concepção de mecânicas de jogos digitais com elevada narrativa emergente.
Due to the differential of interactivity, digital games have a singular narrative potential that let players build their own narratives even in ludic genres with little or no explicit story. Consolidated as a language of digital games, the emergent narrative enjoys multidisciplinary principles of game design to provide the multiformity in games, especially in the sandbox and open world genres. Despite the frequent questioning of the validity of the player's experience as a narrative by the interactive entertainment industry, specialized press and the gaming community, the emergent narrative also contains different types and effects of narrative immersion, in addition to service all narrative functions, but putting the player in an active role and co-author of the story. Exploratory research performed in this work identified twelve emergency elements from mechanical and behavior of the players that promote emerging narrative in digital games, providing the basis for the case study of the game Metal Gear Solid V: The Phantom Pain. In addition to serving as an analytical model for game related genres, this twelve emergency elements can also assist in the conception of game mechanics with high emergent narrative.
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Machado, Ludmila Ayres. "Design e narrativa visual na linguagem cinematográfica." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-26032010-142901/.

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A dissertação Design e narrativa visual na linguagem cinematográfica localiza as origens do cinema e do design no contexto do projeto da modernidade e busca entender o papel que o artista moderno deve desempenhar neste fluxo de transformações e ambiguidades que teve início no século XIX. Assim, procura traçar como as novas formas de representação, consumo e entretenimento convergiram para o discurso visual da linguagem cinematográfica. Faz algumas considerações a respeito de recursos técnicos do cinema, a fim de tornar mais clara a discussão sobre narrativa visual. No texto dedicado às origens do design, localiza a fundação da Bauhaus no contexto da redefinição do papel do pensamento artístico e do artesanato em face da produção mecânica seriada. Propõe a Bauhaus como ponto de convergência da formulação teórica, da aplicação prática e do ato criativo que levariam ao desenvolvimento do design no século XX. Explicita a mudança da idéia de desenho como meio gráfico pelo qual se abstrai a forma, para desenho no sentido ativo de projeto: intuição de relações construtivas ou espaciais dentro da matéria. A partir deste estudo, realiza uma investigação dos aspectos imagéticos e projetuais nas concepções fílmicas do production designer Alex McDowell, assim como a descrição e a análise de quatro filmes desenhados por ele: Invasão de Domicílio, O Terminal, Minority Report e A Fantástica Fábrica de Chocolate. A apresentação desses filmes não segue uma ordem cronológica, sendo, sim, orientada por critérios estéticos e narrativos. A linha traçada parte da representação da realidade contemporânea de Invasão de Domicílio; passa pela experiência de O Terminal no qual parte de um aeroporto foi construída em estúdio ; é quebrada pela ficção científica Minority Report; até chegar ao cinema de fantasia de A Fantástica Fábrica de Chocolate.
This thesis, Design narrative and visual language in film locates the origins of cinema and design in the project of modernity trying to understand the role that the modern artist should play in this world of change and ambiguity that has beginning in the nineteenth century. The intent is to discover how new forms of representation, consumption and entertainment converged to the discourse of visual language film. The work makes some considerations about the technical resources of the cinema in order to clarify the discussion of visual narrative. In the text about the origins of the design, mentions the foundation of the Bauhaus in the context of redefining the role of artistic thought and craft in the face of mechanical serial production. The thesis proposes the Bauhaus as a point of convergence of the theoretical formulation, the implementation and practice and the creative act that would lead to the development of design in the twentieth century. Explains the change of the idea of the pictures as a graphic related to the abstract form, in order to the idea of a picture as an active project: intuition of constructive relations or space in the object. It is made an investigation of the image and design aspects in the process of filming of the production designer Alex McDowell. Four movies he designed have also been analyzed: Breaking and Entering, The Terminal, Minority Report and Charlie and the Chocolate Factory. These movies are not mentioned following a chronological order; the criteria was narrative and aesthetic. A line of the analysis of these selected movies begin at the representation of contemporary reality of Breaking and Entering; then goes to the experience of The Terminal in which part of an airport was built in the studio ; and is broken by the science fiction of Minority Report. Finally it ends with the fantasy movie of Charlie and the Chocolate Factory.
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Elliott, John. "D. H. Lawrence and narrative design /." St Andrews, 1991. http://hdl.handle.net/10023/141.

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Hale, Bonnie. "When shape becomes a sign: narrative design in creative nonfiction." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3091/.

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This thesis consists of a preface and three original short stories. The preface explores the idea that narrative designthe shape or structureof a story may become a literary motif in its own right. The three stories included are creative nonfiction and each employs a distinct modular design. The themes of the stories revolve around personal identity and values; families and marriage; and creative empowerment.
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Venkataraman, Hemalatha. "Narrative Probes in Design Research for Social Innovation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524135294341671.

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Books on the topic "Narrative design"

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Breault, Michael. Narrative Design. Boca Raton, FL: CRC Press, 2020.: CRC Press, 2020. http://dx.doi.org/10.1201/9780429200762.

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Narrative design: A writer's guide to structure. New York: W.W. Norton, 1997.

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Fermor, Sharon. The Raphael tapestry cartoons: Narrative, decoration, design. London: Scala Books in association with The Victoria and Albert Museum, 1996.

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Brooks, Peter. Reading for the plot: Design andintention in narrative. New York: Vintage Books, 1985.

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Intricacy, design & cunning in the book of Judges. [Philadelphia, PA]: Xlibris Corp., 2008.

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Harry, Burrell. Narrative design in Finnegans Wake: The Wake lock picked. Gainesville: University Press of Florida, 1996.

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Brooks, Peter. Reading for the plot: Design and intention in narrative. New York: Vintage Books, 1985.

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Reading for the plot: Design and intention in narrative. Cambridge, Mass: Harvard University Press, 1992.

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Morgan, Conway Lloyd. Häfelinger + Wagner Design: Erzählende Marken kreieren = creating narrative brands. Ludwigsburg: avedition, 2010.

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Suter, Beat, René Bauer, and Mela Kocher, eds. Narrative Mechanics. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839453452.

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What do stories in games have in common with political narratives? This book identifies narrative strategies as mechanisms for meaning and manipulation in games and real life. It shows that the narrative mechanics so clearly identifiable in games are increasingly used (and abused) in politics and social life. They have »many faces«, displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society - such as a career from rags to riches, the concept of modernity or market economy. Below their surface, however, narrative mechanics are a particular type of motivational design - of game mechanics.
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Book chapters on the topic "Narrative design"

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Upton, Brian. "Narrative." In Situational Game Design, 85–98. Boca Raton, FL : Taylor & Francis, CRC Press, 2018.: A K Peters/CRC Press, 2017. http://dx.doi.org/10.1201/b21655-7.

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Bulatovic Trygg, Natasha, Petter Skult, and Jouni Smed. "Narrative Design." In Encyclopedia of Computer Graphics and Games, 1–6. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-08234-9_140-1.

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Mclean, Pamela. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 105–10. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_17.

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Law, Effie, and Anh Vu Nguyen-Ngoc. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 111–16. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_18.

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Chatteur, Fiona. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 159–69. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_27.

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Kern, Nergiz. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 171–75. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_28.

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Makri, Katerina, and Chronis Kynigos. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 177–81. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_29.

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Kabicher, Sonja, and Renate Motschnig-Pitrik. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 17–21. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_3.

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Lotz, Nicole. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 183–87. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_30.

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Derntl, Michael. "Design Narrative." In Practical Design Patterns for Teaching and Learning with Technology, 23–30. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-530-4_4.

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Conference papers on the topic "Narrative design"

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Iannilli, Valeria. "NARRATIVE OBJECTIFICATION: PROCESSES AND METHODOLOGY OF VALUE CREATION THROUGH NARRATIVES." In European Academy of Design Conference Proceedings 2015. Sheffield Hallam University, 2016. http://dx.doi.org/10.7190/ead/2015/63.

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Chang, Wei-Chung. "Design as narrative." In ACM SIGGRAPH 2006 Research posters. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179622.1179669.

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Spaulding, Eric, and Haakon Faste. "Design-driven narrative." In CHI '13: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2470654.2481394.

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Wei, Huaxin. "Embedded narrative in game design." In the International Academic Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1920778.1920818.

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Kang, Hyeon-Suk, and Ho-Jae Jeon. "Narrative-based Understanding by Design." In Education 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.115.17.

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Hao, Bing. "Narrative Style Centered on Humanitarian Spirit in Folk Narrative of China Contemporary Photography." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.43.

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López-Arcos, José Rafael, Francisco Luis Gutiérrez Vela, Natalia Padilla-Zea, and Patricia Paderewski Rodríguez. "Interactive Narrative design for geolocated experiences." In Interacción '16: XVII International Conference on Human Computer Interaction. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2998626.2998666.

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Ghidini, Eduardo, Caroline Q. Santos, Isabel Manssour, and Milene S. Silveira. "Analyzing Design Strategies for Narrative Visualization." In IHC 2017: Brazilian Symposium on Human Factors in Computing Systems. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3160504.3160538.

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Queiroz Santos, Caroline, and Milene Selbach Silveira. "Design de Visualizações Narrativas Interativas." In XVII Simpósio Brasileiro de Fatores Humanos em Sistemas Computacionais. Sociedade Brasileira de Computação (SBC), 2018. http://dx.doi.org/10.5753/ihc.2018.4173.

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Narrative visualization is an emerging data visualization field and has been used for the purpose of communicating information efficiently and intuitively as well as providing greater engagement in data exploration. In this mini-course, we will present and discuss fundamental concepts for interactive narrative visualizations design, and explore these concepts - in theory, and practice - by means of a model that aims to enable reflection on decisions to be taken in narrative visualization’s design.
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Howland, Kate, Judith Good, and Benedict du Boulay. "Narrative support for young game designers' writing." In IDC '15: Interaction Design and Children. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2771839.2771858.

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Reports on the topic "Narrative design"

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Tromblee, Mark L. Strategic Communication Through Design: A Narrative Approach. Fort Belvoir, VA: Defense Technical Information Center, December 2009. http://dx.doi.org/10.21236/ada513320.

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Lance, Brent J., Jonroy Canady, and Kelvin S. Oie. Design and Functionality of the Graphical Interactive Narrative (Gin) System Version 0.2. Fort Belvoir, VA: Defense Technical Information Center, August 2012. http://dx.doi.org/10.21236/ada568916.

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Hilbrecht, Margo, Sally M. Gainsbury, Nassim Tabri, Michael J. A. Wohl, Silas Xuereb, Jeffrey L. Derevensky, Simone N. Rodda, McKnight Sheila, Voll Jess, and Gottvald Brittany. Prevention and education evidence review: Gambling-related harm. Edited by Margo Hilbrecht. Greo, September 2021. http://dx.doi.org/10.33684/2021.006.

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This report supports an evidence-based approach to the prevention and education objective of the National Strategy to Reduce Harm from Gambling. Applying a public health policy lens, it considers three levels of measures: universal (for the benefit of the whole population), selective (for the benefit of at-risk groups), and indicated (for the benefit of at-risk individuals). Six measures are reviewed by drawing upon a range of evidence in the academic and grey literature. The universal level measures are “Regulatory restriction on how gambling is provided” and “Population-based safer gambling/responsible gambling efforts.” Selective measures focus on age cohorts in a chapter entitled, “Targeted safer gambling campaigns for children, youth, and older adults.” The indicated measures are “Brief internet delivered interventions for gambling,” “Systems and tools that produced actual (‘hard’) barriers and limit access to funds,” and “Self-exclusion.” Since the quantity and quality of the evidence base varied by measure, appropriate review methods were selected to assess publications using a systematic, scoping, or narrative approach. Some measures offered consistent findings regarding the effectiveness of interventions and initiatives, while others were less clear. Unintended consequences were noted since it is important to be aware of unanticipated, negative consequences resulting from prevention and education activities. After reviewing the evidence, authors identified knowledge gaps that require further research, and provided guidance for how the findings could be used to enhance the prevention and education objective. The research evidence is supplemented by consultations with third sector charity representatives who design and implement gambling harm prevention and education programmes. Their insights and experiences enhance, support, or challenge the academic evidence base, and are shared in a separate chapter. Overall, research evidence is limited for many of the measures. Quality assessments suggest that improvements are needed to support policy decisions more fully. Still, opportunities exist to advance evidence-based policy for an effective gambling harm prevention and education plan.
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Downes, Jane, ed. Chalcolithic and Bronze Age Scotland: ScARF Panel Report. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.184.

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The main recommendations of the panel report can be summarised under five key headings:  Building the Scottish Bronze Age: Narratives should be developed to account for the regional and chronological trends and diversity within Scotland at this time. A chronology Bronze Age Scotland: ScARF Panel Report iv based upon Scottish as well as external evidence, combining absolute dating (and the statistical modelling thereof) with re-examined typologies based on a variety of sources – material cultural, funerary, settlement, and environmental evidence – is required to construct a robust and up to date framework for advancing research.  Bronze Age people: How society was structured and demographic questions need to be imaginatively addressed including the degree of mobility (both short and long-distance communication), hierarchy, and the nature of the ‘family’ and the ‘individual’. A range of data and methodologies need to be employed in answering these questions, including harnessing experimental archaeology systematically to inform archaeologists of the practicalities of daily life, work and craft practices.  Environmental evidence and climate impact: The opportunity to study the effects of climatic and environmental change on past society is an important feature of this period, as both palaeoenvironmental and archaeological data can be of suitable chronological and spatial resolution to be compared. Palaeoenvironmental work should be more effectively integrated within Bronze Age research, and inter-disciplinary approaches promoted at all stages of research and project design. This should be a two-way process, with environmental science contributing to interpretation of prehistoric societies, and in turn, the value of archaeological data to broader palaeoenvironmental debates emphasised. Through effective collaboration questions such as the nature of settlement and land-use and how people coped with environmental and climate change can be addressed.  Artefacts in Context: The Scottish Chalcolithic and Bronze Age provide good evidence for resource exploitation and the use, manufacture and development of technology, with particularly rich evidence for manufacture. Research into these topics requires the application of innovative approaches in combination. This could include biographical approaches to artefacts or places, ethnographic perspectives, and scientific analysis of artefact composition. In order to achieve this there is a need for data collation, robust and sustainable databases and a review of the categories of data.  Wider Worlds: Research into the Scottish Bronze Age has a considerable amount to offer other European pasts, with a rich archaeological data set that includes intact settlement deposits, burials and metalwork of every stage of development that has been the subject of a long history of study. Research should operate over different scales of analysis, tracing connections and developments from the local and regional, to the international context. In this way, Scottish Bronze Age studies can contribute to broader questions relating both to the Bronze Age and to human society in general.
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Theory of change: Don’t Bet Your Life On It. Greo, June 2021. http://dx.doi.org/10.33684/2021.005.

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Gambling-related harms are increasingly recognised as a significant public health issue in Great Britain. The vast majority of those experiencing gambling harms remain unidentified and without support. Don't Bet Your Life On It (DBYLOI) blends lived experience and clinical expertise to deliver practical safer gambling strategies virtually for players that can be accessed anytime and anywhere to prevent any life from being needlessly affected by gambling-related harm. It is designed to support players at any level of play by providing players with a “seat belt” to prevent harms from occurring, identify early signs of risk, and signpost those experiencing harms to get the help they need. This theory of change visual and narrative considers the inputs, activities, outputs, and outcomes necessary to achieve these goals. It can be used by organizations, groups, and individuals in any sector impacted by gambling related harms in Great Britain.
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