I’m excited because my first conference paper proposal has been accepted, and it gets financial support to help me go deliver it. So in September I’m off to the University of Rochester, NY for their Decoding the Digital conference. I thought I’d share the abstract here. Now, of course, I have to write the paper.
The creators of digital narratives, in the form of computer games, are experimenting with form as they explore story telling in virtual spaces. Different approaches to so-called “open world” games all succeed in creating emotionally engaging diageses, three-dimensional virtual story spaces around which the player can wander with apparent freedom.
Cultural heritage institutions, including museums, built heritage, historic and ancient sites and heritage landscapes, have long been telling stories in three dimensions. Where it’s done well, visitors to those sites can immerse themselves in stories that they co-author as they make choices about what to look at first and subsequently and how deeply they want to explore individual points of interest.
Digital content creators have long had the opportunity to learn from heritage interpretation (Carliner 2001, Sylvester 2013), but what can cultural heritage institutions learn from computer games?
This presentation reports on early research comparing narrative approaches in digital games and cultural heritage institutions. Using case studies of open world games such as Red Dead Redemption, Dear Esther, and Skyrim, the presentation identifies different narrative techniques, structures and emotional triggers and seeks comparators in a number of UK cultural heritage sites. Highlighting the relative strengths of the digital and real-world media, the presentation discusses how cultural heritage sites might adapt some of the techniques of game narrative, including structure and music, to interpretive use. The results of an evaluation of a digital ludic interpretation case study, Ghosts in the Garden, at the Holburne Museum, Bath, illustrate the discussion.
The presentation concludes by setting out the plan for further research, including an exploration of adaptive narrative and the narrative braid (Hargood et al, 2012), and experiments with more considered use of music to trigger emotional responses at heritage sites.