A major expressive aspect of interactive storytelling will come from the notion of an auteur—an individual whose personal creative vision leaves an overriding fingerprint on every aspect of the story experience. We can expect the look, feel and behavior of the auteur’s storyworld to generate a distinctive style, as recognizable as the films of well-known directors such as Alfred Hitchcock, Akira Kurosawa, Ingmar Bergman, and Orson Welles and animation directors such as Hiyao Miyazaki, Tim Burton, Sylvain Chomet and the UPA Studio.

The interactive nature of the storyworld incorporates the user’s emotions, beliefs and motivations into the dramatic experience, offering the auteur an unprecedented canvas of creative possibilities to experiment with. The process of shaping this new dramatic experience opens the doors to a new critical language.

Images from Kurosawa’s film “Seven Samurai” (1954), and UPA Studio’s “Gerald McBoing-Boing” (1950).

Concepts and ideas are expressed and communicated through various media languages. Each appeals distinctively to our senses and to our inner predisposition for “story”. This presentation discusses how different creators use these languages as a means for materializing their thoughts and feelings, and how computer-based interactivity is becoming a contemporary medium for creative expression.
“Object” by Meret Oppenheim (Swiss, 1913-1985).

Given from 2004 to 2007. This presentation provided a general overview of what was being done in Games for Education at the time. It discussed how technology experts, game designers, curriculum specialists and instructional designers were joining forces, and, based on the prevailing research, how well the potential for games to enhance teaching and learning were meeting hopes and expectations.
Image from “Size Matters” by Futurelab.