Publish at February 15 2016 Updated January 07 2026
Interactive storytelling is a new field with its own rules. In this kind of story, there's little point in making a random decision. Either the stakes aren't high, or the situation is desperate. To make "good" decisions, we prefer to rely on different criteria depending on the context.
In "La mécanique du choix dans la narration interactive", Benjamin Hoguet details the different qualities of the choices offered to readers of interactive narratives.
A priori, the reader of an interactive narrative discovers an unknown story, and can only make random choices at the outset in the absence of information. So, when proposing initial choices, we either use conventional elements (man, woman, profession, age, etc.), or provide basic information on the elements of the choice. Introductory sequences are often used to set the scene. We set the mood, then propose choices.
From there, it's a matter of motivating the choices. An interactive story can be entertaining, informative or educational. If the reader is asked to make a choice or take an action, the interest of the decision is linked to its motivation. No one will give out their e-mail or link their Facebook account without knowing why they should. Why should he go through that door, cut that rope or solve that problem?
We can decide strategically, rationally, statistically, rely on others or chance. You can take into account the weather, the other participants, your score, your state, and so on. Interactivity will be all the more interesting if you have the impression of being in control and moving towards your goal.
For example, if you want to learn something, you'll be interested in making choices that will teach you something and enable you to check whether you've understood correctly. If you just want to get specific information, you'll want to get to the heart of the matter quickly. If we simply want a good story, we'll make choices that take the story to the point where we'll find the most pleasure. Our interest is linked to the satisfaction of our motivations and the exercise of our control. Relevant information helps to ensure and maintain control.
Before the reader understands and immerses himself in the mechanics of a story, the difficulty is not to overwhelm him with an overdose of information. We can adopt a rhythm, a procedure, and develop automatisms.
But "rationalizing" seems to kill any emotional factor. First you have to understand technically how the virtual controls work, then you have to analyze, and then you stop letting yourself be carried along by the story.
All we're left with is the pursuit of our goal. In this sense, interactive narratives are likely to be more successful in training than in entertainment, since training effectively requires information to be processed and placed in context, whereas emotion is the main value sought in entertainment, and is currently rather poorly served by interactivity.
Illustration: meunierd / Shutterstock.com
References
The mechanics of choice in interactive storytelling - Benjamin Hoguet
https://medium.com/interactivite-transmedia/la-m%C3%A9canique-du-choix-dans-la-narration-interactive-e9ef5fa20993?section=recommended#.2raoergy3
Emotions and interactive narration - Benjamin Hoguet
https://medium.com/interactivite-transmedia/emotions-et-narration-interactive-1-5f4ed19c839c#.rmt539ax9
Some applications for creating interactive narratives.
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