Interactive Narrative

The integration of the Ukrainian healthcare system into the European space entails active engagement with the latest advancements in medical science and clinical practice. This necessitates the continuous updating of professional knowledge, not only regarding clinical protocols but also in the field of medical communication. The accuracy of clinical symptom verbalization has gained particular significance, as the quality of diagnostics and subsequent interaction—both between physicians and between physician and patient—depends on the adequacy of the linguistic description. In this context, the analysis of pain semantics in English-language medical discourse is highly relevant, given its high frequency and complexity of interpretation, and underscores the necessity of investigating the characteristics of pain syndrome verbalization and identifying the primary semantic models for its description.

Η παρούσα έρευνα εστιάζει στη διαδικασία του σημειωτικού μετασχηματισμού ενός κειμενικού είδους (genre) (ΚΕ), ιδιαίτερα δημοφιλούς στον ελληνικό χώρο κατά τη δεκαετία του 1980, του «άρλεκιν». Mε το ερευνητικό μας ενδιαφέρον στραμμένο στη νέα κειμενική πραγματικότητα, εξετάζουμε την ψηφιακή «επιβίωση» του εν λόγω ΚΕ στην πλατφόρμα διαδραστικών αφηγήσεων «Episode». Μέσα από τη διερεύνηση των σημειωτικών ιδιαιτεροτήτων (Bucher & Helmond, 2018) της εμπλοκής στην υπό μελέτη εφαρμογή επιχειρούμε να αναδείξουμε τις κυρίαρχες σημειωτικές και ιδεολογικές αλλαγές που προκύπτουν κατά τη «μεταφορά» του ΚΕ από το έντυπο στο ψηφιακό περιβάλλον. Προς αυτή την κατεύθυνση, αξιοποιούμε, με μια συνθετική λογική, μεθοδολογικά εργαλεία από την αφηγηματολογική παράδοση του Greimas (Λαγόπουλος & Boklund-Λαγοπούλου, 2016) και από τις θεωρίες πολυτροπικότητας, με κυρίαρχα παραδείγματα αυτά της κοινωνικής σημειωτικής (Kress, 2010) και της κριτικής ανάλυσης πολυτροπικού λόγου (Machin & Mayr, 2012). Η ανάλυση αναδεικνύει τις διαδικασίες της ανασημείωσης (resemiotization) (Iedema, 2003) και της αναδιαμεσολάβησης (remediation) (Bolter & Grusin, 2000) που λαμβάνουν χώρα, υπογραμμίζοντας τον αναδιαμορφωμένο χαρακτήρα του ΚΕ ως σημειωτικού προϊόντος και ως ιδεόσφαιρας.

This study develops a framework for analyzing how players interpret video games and their characters from a cultural studies perspective. Based on qualitative interviews with Mexican gamers, the study combines classic ideas from reception theory with concepts from game studies, creating a bridge between the two fields. The main result is a reading typology that includes aesthetic, narrative, ideological, and metatextual readings, along with ludic readings focused on challenge and difficulty, game mechanics, control, playability, and immersion. This typology helps examine how players engage with games at multiple levels, addressing both their understanding of narrative, symbolic, and ideological meanings and their direct interactive experience of gameplay. The model offers a flexible tool for analyzing the complex ways players experience and interpret video games. It can inform future research in both cultural studies and game studies on how players make sense of video games.

This paper describes the initial stages for the iLand project, a Location Aware Multimedia Story project that captures and exposes the rich oral culture and traditions at the Island of Madeira, using the Madeira main city, Funchal, as a setting to bring a new level of engagement of the audience with the city and its traditional stories. We developed high quality content to be used in an already existing platform to deliver location aware stories. With the story experience carefully designed, an evaluation was carried out in order to expose the opportunities where such systems can be improved. Finally we discuss the results from the evaluation and explain how we will address them in the design of our new system.

This paper examines how architectural space becomes experientially present across cinema and literature through Steven Zaillian's Ripley and Han Kang's Greek Lessons. In both works, space is an active perceptual field shaped by silence, shadow, and the cadence of movement. Read phenomenologically, spatial experience is grasped less by typology than by kinaesthetic and atmospheric registers-partial sight, occlusion, delay, and peripheral attention. In Ripley, thresholds and stair runs operate as diagrams in which duplicity is inscribed through stillness and oblique occupation. In Greek Lessons, muteness and tactile withdrawal trace a cartography of absence-handrails, pages, damp steps-where memory returns as atmosphere rather than flashback. Methodologically, the study adopts a postphenomenological frame: the body is the medium of experience, while cinema and literature function as technological mediations. Images, sounds, and textual cues couple with the perceiver's body schema, drawing posture, breath, and peripheral attention into a lived field where distances, edges, and weights are psychosomatically measured. In embodied relations, sensorimotor rhythms entrain proprioception; in hermeneutic relations, reading and image-reading disclose a world. In both channels media set conditions of appearance, and bodily uptake enacts architectural space. Anchored in Merleau-Ponty's embodied perception and integrated by Don Ihde's technological mediation (embodied and hermeneutic relations), Pallasmaa on peripheral vision, Casey on emplacement, and Bruno on haptic/public intimacy, the paper reframes absence, attenuation, and delay as spatial technologies that organize experience and make architectural atmospheres thinkable. It positions architecture, in dialogue with media, as the phenomenal field constituted by the coupling of bodily medium and mediating technics.

Il contributo analizza la guida Conoscere Alessandria di Angelo Bottiroli come strumento di rilettura dell'identità urbana alessandrina. L'opera integra descrizione territoriale, sintesi storica e strumenti digitali interattivi, configurandosi non solo come supporto turistico, ma come dispositivo culturale rivolto agli stessi cittadini. L'analisi evidenzia il ruolo della conoscenza nella costruzione della percezione urbana e nella valorizzazione del patrimonio.

Е.А.Силуянов, студент кафедры истории Древнего мира и средних веков eghorsiluyanov@gmail.сom В данном материале, основанном на ответах арт-директора французской компьютерной игры Hell is Us (2025) Матье Ларивьера, я исследую, как через архитектуру брутализма, отказ от классических игровых подсказок и обращение к опыту реальных конфликтов XX века создается уникальное повествовательное пространство. Это история о том, как личная трагедия героя становится зеркалом национальной катастрофы, и почему в мире, где молчат указатели, сами руины начинают говорить.

The rise of digital media has fundamentally transformed the production, distribution, and consumption of literature, altering both the form and content of literary texts. This paper will explore how the digital transformation of literature-through e-books, hypertext fiction, interactive storytelling, and other digitally born works-poses significant challenges to traditional approaches to literary analysis and criticism. It will focus on how digital technologies have redefined the nature of texts and how readers engage with these texts. This study will analyze key theoretical frameworks, case studies, and contemporary digital works to assess how interpretive practices must adapt to account for this shift. Additionally, the article will explore how these changes may require a reconsideration of established concepts in literary theory, such as authorship, the role of the reader, and the nature of the literary canon.

ReSpace is a teaching module, which entices students in a playful way to work with computers and motivates them to think more deeply about the abstract idea of space. The goal of ReSpace is to enhance the concept of space by augmenting its content with additional levels of information like statements about emotions, by referring to senses, delineating impressions or telling stories and inducing memories. ReSpace takes advantage of the possibilities offered by virtual environments in the transfer of information and suggests space as a metaphor for the communication of ideas, knowledge and experiences about space. In this paper the module ReSpace taught by the author is described. Its central theme is the representation and communication of one's notion, perception, and interpretation of space with the help of a 3D, interactive, virtual, environment.

ReSpace is a teaching module, which entices students in a playful way to work with computers and motivates them to think more deeply about the abstract idea of space. The goal of ReSpace is to enhance the concept of space by augmenting its content with additional levels of information like statements about emotions, by referring to senses, delineating impressions or telling stories and inducing memories. ReSpace takes advantage of the possibilities offered by virtual environments in the transfer of information and suggests space as a metaphor for the communication of ideas, knowledge and experiences about space. In this paper the module ReSpace taught by the author is described. Its central theme is the representation and communication of one's notion, perception, and interpretation of space with the help of a 3D, interactive, virtual, environment.

This paper examines reader agency in interactive fiction (IF) from 1976 to 2025 through comparative close readings of seven paradigmatic works: Colossal Cave Adventure, Spider and Web, Everybody Dies, With Those We Love Alive, A Vast Lonely Desert, Do Not Take This Cat Home, and How To Walk Out The Door. Drawing on reader-response theory (Iser, Eco) and ergodic literature (Aarseth), it introduces "liminal narrative space" as the threshold where authorial design meets reader intervention. Findings reveal that agency relocates. From procedural mastery to epistemic, affective, embodied, and ethical forms, it expands the space where meaning is co-constructed, without completely ceding narrative control to readers, while creating a strong illusion of doing so. IF, thus drastically improves the scope of a narrative and the amount of responsibility of the reader in the meaning-making process. However, the responsibility is still well within authored constraints, with space for slight negotiations based on different individual pieces of IF.

This proposal is rooted in a broader project aimed at the physical and cognitive accessibility of the Carignano’s palace and museum, which was
commissioned by the Direzione Regionale Musei (DRM) - Museo di Palazzo Carignano. The project has been funded as part of the PNRR (National Recovery and Resilience Plan) in the Accessibility
sector and concluded in February 2025. In the project program, the need to make the double staircase usable without the need to walk through was specified. The staircase in the baroque palace, designed by Guarino Guarini, is one of the elements on which most communication devices are applied for physical and cognitive accessibility. This objective pursues two goals: to ensure full space accessibility and facilitate its preservation by limiting its wear and tear. Three main outputs characterize the accessibility strategies: a virtual tour, a 1:50 tactile cutaway scale model, and an AR visualization.

Increasingly heritage institutions are making digital artifacts available to the general public and research groups to promote the active exploration of heritage and encourage visits to heritage sites. Stories, such as folklore and first person accounts form a useful and engaging heritage resource for this purpose. Story Fountain provides intelligent support for the exploration of digital stories. The suite of functions provided in Story Fountain together support the investigation of questions and topics that require the accumulation, association or induction of information across the story archive. Story Fountain provides specific support toward this end such as for comparing and contrasting story concepts, the presentation of story paths between concepts, and mapping stories and events according to properties such as who met whom and who lived where.

Currently there is much interest in the development of computer and DVD-based games and activities that supplement or are marketed alongside broadcast television content. Scene-Driver was developed for the purpose of reusing content from an animated children's television series within the context of a narratively coherent game. Content from the children's television series "Tiny Planets" was used in the development and testing of Scene-Driver. Each episode of the series has been divided into a collection of scenes, each of which represents a narrative unit such as conflict introduction and resolution. The game is aimed at children of the ages 5 -7 and an interface has been developed which can be intuitively used by children of this age. This interface takes the form of "domino-like" tiles which depict characters and objects from the television series (unlike ordinary dominoes that have numbers on either side). The tiles can be played according to different game rules. The child's choice of tile influences the direction of a narrative. The game and interface have been tested with children of the target age range in two evaluation studies. Both studies demonstrated the potential of Scene-Driver to produce engaging narratively coherent games using children's animation content.

This research paper explores the transformative shift in theatrical pedagogy during the 20th century, examining how theatre evolved from a medium of mere entertainment into a profound tool for social commentary and truth-seeking. The study focuses on the core methodologies and philosophies of five seminal practitioners: Konstantin Stanislavski, Bertolt Brecht, Jerzy Grotowski, Viola Spolin, and Peter Brook. By analyzing Stanislavski's psychological realism, Brecht's "alienation effect," Grotowski's "Poor Theatre," Spolin's improvisational games, and Brook's concept of the "Empty Space," this paper highlights the essential skills-both somatic and cognitive-required of the modern theatre artist. Through a comparative lens, the research investigates the relationship between the actor's body and mind, illustrating how these distinct approaches have merged to form the interdisciplinary landscape of contemporary performance. The findings suggest that the integration of these 20thcentury frameworks remains fundamental to 21st-century theatrical practice, providing a dialectic between internal emotional experience and external social engagement.

This research paper explores the transformative shift in theatrical pedagogy during the 20th century, examining how theatre evolved from a medium of mere entertainment into a profound tool for social commentary and truth-seeking. The study focuses on the core methodologies and philosophies of five seminal practitioners: Konstantin Stanislavski, Bertolt Brecht, Jerzy Grotowski, Viola Spolin, and Peter Brook. By analyzing Stanislavski's psychological realism, Brecht's "alienation effect," Grotowski's "Poor Theatre," Spolin's improvisational games, and Brook's concept of the "Empty Space," this paper highlights the essential skills-both somatic and cognitive-required of the modern theatre artist. Through a comparative lens, the research investigates the relationship between the actor's body and mind, illustrating how these distinct approaches have merged to form the interdisciplinary landscape of contemporary performance. The findings suggest that the integration of these 20thcentury frameworks remains fundamental to 21st-century theatrical practice, providing a dialectic between internal emotional experience and external social engagement.

Perturbatory narration is a new transmedial narratological concept conceived in order to analyze how innovative experimental fictional texts irritate the reader or spectator by transgressing or annulating the rules of the common narrative system. We distinguish three ludic narrative techniques which are sometimes even mutually exclusive, but nevertheless frequently combined in literary and filmic fiction. Perturbatory narration serves to model and systematize a narrative principle which combines devices of these three strategies, in particular of unreliable narration, paradoxical narration and puzzling narration. The dynamic interplay of these devices is illustrated with two short stories by Julio Cortázar, “Continuidad de los parques”/“The continuity of parks” (1964) and “Graffiti” (1980) and the filmic adaptation Furia (1999) of the latter.

This mini-module examines Van Halen as a long-lasting cultural brand. It foregrounds branding theory-including brand equity, brand synergy, authorship, cultural myth, and legacy branding-and applies these concepts to the band's evolving media presence, internal tensions, reunions, legacy, and cross-genre influence. Students will move from theory to applied case work, critically engaging with retrospective interview footage, cross-genre references, brand mythology, and the interplay between individual personas and collective identity. This will also help to explain the "band as a brand" concept. Core Concepts (Introduced Early): Concept Definition Brand Equity The perceived value of a brand based on awareness, associations, loyalty, and quality signaling Brand Synergy Value created by integrated parts that outweighs the sum of individual contributions

Advances in gaming and other entertainment technologies are evolving rapidly and create new conceptual challenges for understanding and explaining the user experiences they can facilitate. The present article reports a prospective study on a particularly promising entertainment technology of the future: Interactive storytelling (IS). Integrating various streams of computing technology, such as advanced visualization, natural speech processing, and autonomous agents, IS systems are envisioned to offer new, personalized and thus unique kinds of entertainment to mass audiences of the future. The authors refer to existing models of media entertainment for a theoretical analysis and analyze expert interviews with members of the international IS development community to lay out the foundations for a forecast model of the entertainment experience of future IS systems. The resulting model organizes 1 Hanover University of Music, Drama, and Media, Hannover, Germany 2 VU University Amsterdam,...

With the increasing number of prototypes and market applications of interactive storytelling, the understanding and optimization of how end users respond to computer-mediated interactive narratives is of growing importance. Based on a conceptual model of user experiences in interactive storytelling, a measurement instrument for empirical user-based research was developed. We report findings from an initial test of the self-report scales that was conducted with N=80 players of the adventure game "Fahrenheit". Interactivity was manipulated experimentally in order to validate the measures. Results suggest that the scales will be useful for comparing user responses to 'real' interactive storytelling systems.

Narrative-rich game genres such as role playing games and adventure games aim at specific dimensions of user enjoyment. Technology development in "Interactive Storytelling" will enrich such narrative-based player experiences in the near future, yet the conceptualization and empirical assessment of how players respond to interactive narrative and their own role within the game story is underdeveloped. The present paper introduces a set of self-report measures tailored particularly for games with interactive story elements. It is based on entertainment research in media psychology and has so far produced promising empirical performance results.

Architetto, Ph.D., è ricercatore di Architettura degli Interni e Allestimento presso l'Università San Raffaele di Roma. Si è perfezionato presso l'École du Louvre ed è esperto nella progettazione museale indoor e outdoor e nella valorizzazione del patrimonio storico ed artistico. È membro di Comitati scientifici di Master e Riviste internazionali.

The sudden discontinuation of the JCB Prize for Literature in 2025 reignited questions about the politics of literary recognition and the fragility of platforms supporting Indian-language writing. Tamil author Perumal Murugan, the 2023 JCB winner, had himself been at the centre of a major literary controversy a decade earlier, when his novel One Part Woman faced public backlash and calls for censorship. This study revisits that earlier episode, not merely as a case of literary suppression but as a moment when the judiciary, specifically, the Madras High Court, intervened with an act of literary reading.
Drawing on theories of reader-response, poststructuralist historiography, and subaltern studies, the article argues that the court’s judgement in S. Tamilselvan v. State of Tamil Nadu performed a critical and politically meaningful reading of Murugan’s text. By refusing to accept a singular, literalist interpretation of the novel, the court emphasised the plural nature of literary meaning and the necessity of interpretive freedom in a democratic society. It critiqued dominant historical narratives and acknowledged alternate knowledge systems, such as folklore and oral traditions, as legitimate sources of cultural memory.

The Chronicle of Remembrance: A Battle Against the Second Death in the Digital Age
By Peter Siegfried Krug

In philosophy and anthropology, the "first death" marks the end of biological existence. However, it is the "second death"—the final state of being forgotten—that constitutes the ultimate erasure of human presence. Throughout history, humanity has strived to defy this second death by leaving behind both material and immaterial traces.

The Historical Evolution of Preservation
The mechanisms used to combat oblivion have always been a reflection of the technical and social capabilities of their time:

Ancient Greece and the Ideal of "Kleos": In antiquity, immortality (Kleos) was tied to deeds immortalized through epic poetry or stone inscriptions (epigraphy). This was an elite form of memory; those without access to literature or monuments were consigned to oblivion. The primary vulnerability was the physical destructibility of the stone itself.

The Middle Ages and Sacral Chronicling: Memory shifted to monasteries, where the remembrance of saints and rulers was managed through handwritten chronicles. However, durability was low; fire and decay claimed countless records in a world where literacy was rare.

The Modern Era and the Democratization of Print: Gutenberg’s invention revolutionized the survival of information. By multiplying knowledge through books and registers, the survival of a name no longer depended on a single artifact. Bureaucracy ensured, for the first time, the preservation of the common citizen's history.

The 20th Century and Industrial Storage: With the advent of film and magnetic tape, life became audiovisually preservable. Yet, this era also revealed the treachery of technology: the short lifespan of chemical and magnetic carriers led to a "silent" decay of data.

The Paradox of the Digital Age: Abundance and Erasure
Today, we face a historical singularity. We store more data than any generation before us, yet the risk of total oblivion is paradoxically higher than ever.

The Problem of Walled Gardens and Discoverability:
A vast portion of modern memory is entrusted to private corporations (e.g., Meta, WhatsApp). These function as "Walled Gardens"—closed ecosystems where information is often invisible to search engines and dependent on the economic stability of the provider. If the platform fails, the documented identity vanishes.

The "Digital Dark Age" and Link Rot:
Unlike marble or parchment, digital storage media are extremely fragile. Bit rot (the physical decay of storage chips) and the obsolescence of file formats threaten to turn our era into a "digital dark age." Furthermore, link rot—the failure of URLs—means that even if information exists on a server, it remains inaccessible. In the digital public sphere, information without a functional link effectively does not exist.

Conclusion: Active Archiving as an Ethical Imperative
True unforgettability in the 21st century requires more than mere "uploading." It demands active maintenance of digital traces. We must abandon the illusion of the internet’s inherent permanence and instead rely on stable, public, and networked archival structures. The battle against the second death today is no longer a fight against the erosion of stone, but a fight against algorithmic invisibility and technical transience.

Mass self-presentation on platforms like WhatsApp, TikTok, and Meta is far more than just a technological shift; it is a profound psychological defense mechanism. From a depth-psychological perspective, the digital space serves as a collective buffer against the fundamental human primal fear: thanatophobia (fear of death). In a secularized world where traditional concepts of immortality are eroding, the digital space assumes the function of an existential shield.

The Digital Scream: "I am seen, therefore I am"
At the heart of this phenomenon lies Terror Management Theory (TMT). It postulates that the awareness of one's own mortality creates a paralyzing anxiety that must be managed by building cultural self-esteem.

While previous generations sought immortality through religion, family, or monuments, the "Like" has taken their place. Every status update or video is a symbolic cry for validation. The logic behind it is primitive yet effective: "I am seen, therefore I am." However, this digital securing of existence is precarious. A post creates only a brief echo; once it fades, the fear of insignificance returns, leading to an addictive spiral of seeking constant visibility.

The Profile as a "Substitute Mausoleum"
For many users, the social media profile functions as an unconscious digital tomb. Through the continuous documentation of trivial life events, an attempt is made to construct an identity so dense and present that it must defy oblivion.

Depth-psychologically, however, these "fleeting impulses" lack substance. A mausoleum built of "data trash" offers no protection against being forgotten, as the content holds no utility for posterity. If information does not touch upon a larger context (art, science, or history), it remains bound to the physical moment. With the shutting down of servers, this identity vanishes completely.

The Paradox of "Bit Rot" and Dark Data
People mistakenly believe the internet never forgets. In truth, the internet is extremely forgetful regarding anything that has no relevance for the present. Data that is not actively curated sinks into "Dark Data" and is vulnerable to Bit Rot: the physical decay of storage media and the incompatibility of file formats over decades.

The Historical Acceleration of Oblivion
The "second death"—the moment a person’s name is spoken for the last time or their work is perceived for the last time—has been a constant in human history. Paradoxically, the digital age has accelerated this process.

Öz Bu makale, literatürde bilimsel geçerliliği henüz kanıtlanmamış olan Aile Dizimi Yönteminin, Türk yapımı Zeytin Ağacı dizisinde anlatıya nasıl entegre edildiğini ele almaktadır. Çalışmanın amacı, hâlihazırda literatürde tartışmalı bir konu olan Aile Dizimi Yönteminin, dizi aracılığıyla nasıl görselleştirildiğini, bu yöntemin karakterler üzerindeki etkilerini ve yönteme ilişkin seyirciye sunulan bakış açısını analiz etmektir. Analizde, aile içinde bilinç dışı aktarılan travmaların bireyler arasındaki iletişime nasıl yansıdığı, travmaların bireylerin davranışlarını nasıl şekillendirdiği ve çözüme kavuşturma biçimleri göz önünde bulundurulmaktadır. Bu nedenle çalışma, Aile Dizimi Yönteminin travmaların çözüm sürecinde nasıl bir rol oynadığı ve dizinin bu yöntemi popüler kültüre nasıl tanıttığını göstermesi açısından önem taşımaktadır. Araştırmada nitel araştırma yöntemi benimsenmiş ve tipik durum örneklemesi kullanılmıştır. Dizinin birinci sezonundaki sekiz bölüm, Aile Dizimi Yönteminin anlatıya nasıl dâhil edildiğini anlamlandırmak için tematik analiz yöntemiyle incelenmiştir. Bu doğrultuda belirlenen ana temalar: Kuşaklar arası travma, iletişimde kopukluk ve yeniden bağlanma ile ruhsal şifalanmadır. Aile Dizimi, diziye yöntemin iyileştirici potansiyeline dair görüşlerle örtüşen, olumlu bir yapıda entegre edilmiştir. Ancak yöntemin bilimsel açıdan tartışmalı oluşu, dizinin eleştirel mesafeden yoksun sunumu nedeniyle göz ardı edilmiştir. Bu hâliyle dizinin, terapötik süreçteki riskleri yansıtmaktan çok, yöntemi yücelten bir anlatım benimsediği görülmektedir. Netflix üzerinden geniş kitlelere ulaşan yapım, Aile Dizimi Yönteminin tanınmasına ve popülerleşmesine katkı sunmuş; aynı zamanda bireylerin kendi geçmişleriyle yüzleşme süreçlerine dair görsel bir model oluşturmuştur. Sonuç olarak Zeytin Ağacı, Aile Dizimini bireysel şifalanma ve kimlik inşası süreci ile ilişkilendirerek dramatik anlatı içinde etkili bir araç olarak temsil etmekte fakat bilimsel sorgulamalara yeterince yer vermemektedir.

Within the tradition of Digital Game courses, the use and teaching of programming is seen as essential for students to work on skills and gain knowledge to develop an artifact. However, for students at a more basic level, this can be a major difficulty considering the complexity of understanding a language they have never seen before. Narrative, sound, and music are critical elements in game creation and can be used to teach programming concepts in a more intuitive and engaging way. Recently, the "Creative Experience: Text-Based Game Development" module has strengthened the use of narrative as a way of teaching programming concepts. Narrative creates contexts and stories for players, while sound provides feedback and guidance during the game. According to Kelleher (2006), the use of games to teach programming is an effective form of learning because it allows students to experiment with concepts in a fun and playful way and develops important skills such as problemsolving, critical thinking, and teamwork. The use of narrative, sound, and music in games can be an effective way to teach complex programming concepts clearly and engagingly. This is an article that addresses the strategies created in the digital game module "Creative Experience: Text-Based Game Development" exploring narrative, sound, and music as learning elements for programming and comparing the results within the period of two course offerings, one with only programming teaching and another with the introduction of narrative and sound as the basis for constructing this knowledge. It is hoped that these teaching strategies can contribute to the development of valuable skills in the field of education and programming.

The Virtual Storyteller is a framework for story creation by co-operating intelligent agents. In this framework, a collection of agents is responsible for the creation of different story levels: plot, narrative, and presentation. In the Virtual Storyteller, plots are automatically created based on the actions of autonomous characters whose plot creation is only constrained by general plot requirements. This approach lacks the disadvantages of pure character-based plot development, where the characters are fully autonomous, and of scripted approaches, where the plot content is pre-defined and the characters have no autonomy at all.

Las narrativas transmedia, tambien denominadas storytelling, irrumpen de una manera casi natural a final de los anos 90 (Jenkins, 2003). Algunos de los ejemplos mas nombrados pertenecen a sagas cinematograficas incluso anteriores a esta epoca, como pudiera ser Star Wars en los anos 70, capaz de desplegar un mundo imaginario en diversos formatos y soportes. Matrix o Harry Potter son considerados productos transmedia por cuanto tienen una capacidad convergente.

This article explores the rich but underutilized Persian archival sources of the Sikh Empire preserved in Lahore, focusing on the period from 1801 to 1849. It argues that these daftars and manuscripts, housed in institutions such as the Punjab Archives, Punjab Public Library, University of the Punjab Library, and the Faqir Khana Museum, are indispensable for reconstructing the political, administrative, military, and cultural history of Maharaja Ranjit Singh's state. By surveying key Persian chronicles, official records, correspondence, military accounts, and court diaries, the article highlights the sophistication of Sikh governance and the continued centrality of Persian as a language of administration, historiography, and cultural expression. It further emphasizes the need for systematic preservation, cataloguing, and accessibility of these sources to enable more nuanced and empirically grounded scholarship on the Sikh Empire and nineteenth-century Punjab.

"Textos de Cine Vol. I" de Pablo Rodríguez Pazmiño es un compendio de ensayos y reflexiones que entrelazan la filosofía y el cine, explorando cómo este arte refleja y moldea nuestra sociedad. El autor examina diversos temas, desde la relación entre la amistad aristotélica y el cine hasta la revolución del cine digital, ofreciendo un análisis profundo que invita a repensar el significado de las imágenes cinematográficas.

A través de textos que nacieron durante la pandemia y momentos clave de la vida del autor, este libro presenta una intersección única entre el cine y el pensamiento crítico. Aborda temas como los festivales en aislamiento, el impacto del cine digital en la democratización del medio, y el legado de figuras controvertidas en la industria cinematográfica. Cada ensayo está fundamentado en una combinación de filosofía, crítica social y apreciación artística, enriquecida con referencias a películas icónicas y teorías de pensadores influyentes

Este texto aborda y transcribe largos fragmentos de tres entrevistas 1 con investigadores y creadores audiovisuales sobre sus ideas acerca del cine como tecnología para la paz y esboza algunas aplicaciones de esta aproximación creativa en el contexto. Según lo extraído de los testimonios, en el lenguaje artístico del cine podemos identificar tendencias estéticas y algunas funciones pragmáticas que lo harían una tecnología expresiva para la paz. También podemos identificar obras audiovisuales que, al no considerar variables estéticas y funciones pragmáticas, se apartan de esta búsqueda y podríamos considerar tecnologías para la guerra. Finalmente, la construcción de relatos con una profunda búsqueda de los verdadero, una adecuada investigación creación sobre el contexto desde el cual surge la obra y una consideración del público a quien va dirigida serían algunas de las características que deben cumplir las películas que se acercan al cine como tecnología para la paz. Palabras clave: cine, tecnología, paz, cine colombiano, funciones estéticas y pragmáticas del cine, espectador y contexto. a bStract (enG) This text analyzes three interviews with researchers and audiovisual producers on their ideas on film as a technology for peace and outlines some applications of this creative approach to their context. According to what was extracted from the testimonies, we can identify in the artistic language of film aesthetic tendencies and some pragmatic functions that would make it an expressive technology for peace. We may 1 Las entrevistas fueron hechas por el profesor de la Universidad Nacional de Colombia, guionista y realizador audiovisual Gabriel Alba, en el marco del evento Actio 20-30-40. Encuentro alrededor de las tecnologías del diseño, las artes fílmicas y la comunicación visual para la construcción de paz.

This article theorises 'the new paradigm of mass communication 1 ' and 'the media scenario 2 ' and develops a theory of time as the hidden infrastructure of contemporary mass communication, arguing that the 'new paradigm' is best understood as the industrial production and governance of temporality through narrative form. Drawing on Paul Ricoeur's account of narrativity, emplotment, and the 'third time' of narrated experience, the article proposes that media do not merely represent events but configure how societies inhabit 'before' and 'after', urgency and delay, memory and expectation. In this framework, narrative causality is practical rather than physical: media plots translate motives, goals, and collective intentions into intelligible sequences, converting contingent occurrences into purposeful arcs. The concept of the 'media scenario' is introduced to name the contemporary form of this process: an environment in which platforms, formats, and algorithms continuously script attention, pace public emotions, and synchronise dispersed audiences into a shared 'now'. News cycles, serial formats, viral controversies, strategic communication, and scenario-planning narratives are treated as techniques for abducting attention and stabilising a hypernormalised present, where participation matters more than belief and visibility competes with verification. The article argues that this engineered temporality intensifies polarisation by rewarding dramatic simplification and accelerating moral response, but it also identifies a constructive possibility: narrative literacy as civic capacity, enabling societies to recognise the time-making power of media, resist compulsory dramaturgy, and reopen public time to deliberation, plurality, and ethical agency.

The media portrayal of family in films and series has undergone a turbulent evolution in the past decades, from the nuclear family to the current diversified form. I seek to highlight current portrayals of family and family dynamics, using the Netflix series Arcane as a case study. The research categories are family relationships and conflicts, social and economic background of the family, traditional nuclear family versus modernized forms of the family, loyalty and sacrifice. I apply these categories to the 9 families depicted in the named series using a combination of qualitative content methods, namely thematic, narrative and discourse analysis. As a result, I conclude that only one family depicted is nuclear, hence there is an apparent updating of the depiction of family and family relations. Loyalty is present in all the families depicted, ultimate sacrifice (sacrificing one's life to save a family member) is present in almost half of the families studied. The pattern of strong female authority figures and the absence of paternal figures is also pronounced, indicating a shift away from patriarchal structures. Families from higher social strata exhibit more complex moral dilemmas, while families from lower strata are characterized by stronger emotional ties.

In the post-pandemic world, we see the exacerbation of digital connections but also inequalities between countries with higher or lower degrees of access to fast Internet services. Digitization processes enable and intensify global exchanges and yet expand disconnections as they globalize debates and solutions without considering the different levels of accessibility, digital literacy, and Internet infrastructure in less privileged communities. Such discrepancies are reflected in learning levels and, consequently, in the development of social sustainability. As a theoretical-methodological contribution, this paper draws on the concepts of transmedia logic, educommunication, and social sustainability. The original transmedia educommunication method discussed here consists of a week-long gamified intervention in schools with students between 11 and 14 years old, in Portuguese speaking countries. The objective is to give them the tools to distinguish between textual genres and their pu...

Contemporary cinema is fundamentally passive; narrative progression remains fixed regardless of the viewer’s emotional state, attentional engagement, or cognitive response. While interactive media have introduced branching structures through explicit user choices, such systems rely on conscious decision-making rather than implicit emotional feedback. This white paper proposes a conceptual framework for Loopback Cinema, an emotion-adaptive narrative paradigm in which a film continuously reshapes its storytelling trajectory based on the inferred viewer affective state.
Loopback Cinema is conceptualized as a closed feedback loop between viewer emotional response and narrative generation, where affective signals serve as implicit inputs to a dynamic scene-selection process. The framework introduces the notions of continuous affective sensing, narrative state spaces, and loopback-driven scene orchestration, positioning cinema as a responsive system rather than as a linear artifact. Importantly, the framework is non-diagnostic and non-deterministic, functioning as a storytelling orientation mechanism, rather than a psychological assessment tool.
By reframing cinema as a living narrative system that listens to its audience, this study outlines a foundation for future research in emotion-adaptive media, affective human–computer interaction, and next-generation cinematic experiences

This article investigates the phenomenon of the interactive film-game, using the
example of the computer game “Detroit: Become Human” from “Quantic Dream”
studio (2018). The interactive film game is recognized as a notable phenomenon of
mass culture in recent years, which encourages the recipient to become a co-creator
of the narrative. In the film-game under study, the viewer simultaneously acts as a
player who must constantly and independently choose the further development of
the action, thereby advancing the plot. These choices pertain to both the actions
and the emotional states of the characters. The player-viewer is given a very short
period of time to make a decision, typically up to 10 seconds. This prompts the
player-viewer to make intuitive, emotional decisions. Conversely, the interactive
film game requires the application of a specific game strategy, which results in the
plot development undergoing fundamental changes. The article analyses three game
strategies, each of which has its own specifics and determines the nature of the plot
narrative. The first strategy is the adherence to a clearly chosen line of behavior of a
specific character, or all characters together. The second involves changing the line
of behavior of a character/characters only in one or several plot episodes that have
a decisive influence on the development of the plot action. The third strategy can be
considered random. Here, the spectator player makes arbitrary chaotic decisions
regarding some or all of the characters. This variability of the plot presentation and
the deep involvement of the player-viewer in its construction allow the conceptual
developer of these film-games, David Cage, to speak of a revolution in art. This refers
to revolutionary changes in the aesthetic process, specifically in the ratio of functions
among the author, recipient, and work. The article comments on this statement and
examines the overall artistic and aesthetic potential of the interactive film game.
The new possibilities that open up to the consumer of an interactive feature film
are emphasized. The player-spectator builds the story himself, thus acting not only
as a recipient, but also as an author, that is, taking responsibility for the moral and
ethical actions of the characters in the story