Scrollytellings are an innovative form of web content. Combining the benefits of books, images, movies, and video games, they are a tool to tell compelling stories and provide excellent learning opportunities. Due to their multi-modality, creating high-quality scrollytellings is not an easy task. Different professions, such as content designers, graphics designers, and developers, need to collaborate to get the best out of the possibilities the scrollytelling format provides. Collaboration unlocks great potential. However, content designers cannot create scrollytellings directly and always need to consult with developers to implement their vision. This can result in misunderstandings. Often, the resulting scrollytelling will not match the designer’s vision sufficiently, causing unnecessary iterations. Our project partner Typeshift specializes in the creation of individualized scrollytellings for their clients. Examined existing solutions for authoring interactive content are not optimally suited for creating highly customized scrollytellings while still being able to manipulate all their elements programmatically. Based on their experience and expertise, we developed an editor to author scrollytellings in the lively.next live-programming environment. In this environment, a graphical user interface for content design is combined with powerful possibilities for programming behavior with the morphic system. The editor allows content designers to take on large parts of the creation process of scrollytellings on their own, such as creating the visible elements, animating content, and fine-tuning the scrollytelling. Hence, developers can focus on interactive elements such as simulations and games. Together with Typeshift, we evaluated the tool by recreating an existing scrollytelling and identified possible future enhancements. Our editor streamlines the creation process of scrollytellings. Content designers and developers can now both work on the same scrollytelling. Due to the editor inside of the lively.next environment, they can both work with a set of tools familiar to them and their traits. Thus, we mitigate unnecessary iterations and misunderstandings by enabling content designers to realize large parts of their vision of a scrollytelling on their own. Developers can add advanced and individual behavior. Thus, developers and content designers benefit from a clearer distribution of tasks while keeping the benefits of collaboration.

The rich programme of ICIDS 2009, comprising invited talks, technical pres- tations and posters, demonstrations, and co-located post-conference workshops clearly underscores the event’s status as premier international meeting in the domain. It thereby con?rms the decision taken by the Constituting Committee of the conference series to take the step forward: out of the national cocoons of its precursors, ICVS and TIDSE, and towards an itinerant platform re?ecting its global constituency. This move re?ects the desire and the will to take on the challenge to stay on the lookout, critically re?ect upon and integrate views and ideas,?ndingsandexperiences,andtopromoteinterdisciplinaryexchange,while ensuring overall coherence and maintaining a sense of direction. This is a signi?cant enterprise: The challenges sought are multifarious and must be addressed consistently at all levels. The desire to involve all research communitiesandstakeholdersmustbematchedbyacknowledgingthedi?erences in established practises and by providing suitable means of guidance and int- duction, exposition and direct interaction at the event itself and of lasting (and increasingly:living) documentation, of which the present proceedings are but an important part.

This book constitutes the refereed proceedings of the 4th International Conference on Interactive Digital Storytelling, ICIDS 2011, held in Vancouver, Canada, in November/December 2011. The 17 full papers, 14 short papers and 16 poster papers were carefully reviewed and selected from 72 paper and poster submissions. In addition, the volume includes 6 workshops descriptions. The full and short papers have been organized into the following topical sections: interactive storytelling theory, new authoring modes, virtual characters and agents, story generation and drama managment, narratives in digital games, evaluation and user experience reports, tools for interactive storytelling.

This book constitutes the refereed proceedings of the 14th International Conference on Interactive Digital Storytelling, ICIDS 2021, held in Tallinn, Estonia, in December 2021. The 18 full papers and 17 short papers, presented together with 17 posters and demos, were carefully reviewed and selected from 99 submissions. The papers are categorized into the following topical sub-headings: Narrative Systems; Interactive Narrative Theory; Interactive Narrative Impact and Application; and the Interactive Narrative Research Discipline and Contemporary Practice.

This book includes a short history of interactive narrative and an account of a small group collaboratively authored social media narrative: Romeo and Juliet on Facebook: After Love Comes Destruction. At the forefront of narrative innovation are social media channels – speculative spaces for creating and experiencing stories that are interactive and collaborative. Media, however, is only the access point to the expressiveness of narrative content. Wikis, messaging, mash-ups, and social media (Facebook, Twitter, YouTube and others) are on a trajectory of participatory story creation that goes back many centuries. These forms offer authors ways to create narrative meaning that reflects our current media culture, as the harlequinade reflected the culture of the 18th century, and as the volvelle reflected that of the 13th century. Interactivity, Collaboration, and Authoring in Social Media first prospects the last millennium for antecedents of today’s authoring practices. It does so with a view to considering how today’s digital manifestations are a continuation, perhaps a reiteration, perhaps a novel pioneering, of humans’ abiding interest in interactive narrative. The book then takes the reader inside the process of creating a collaborative, interactive narrative in today’s social media through an authoring experience undertaken by a group of graduate students. The engaging mix of blogs, emails, personal diaries , and fabricated documents used to create the narrative demonstrates that a social media environment can facilitate a meaningful and productive collaborative authorial experience and result in an abundance of networked, personally expressive, and visually and textually referential content. The resulting narrative, After Love Comes Destruction, based in Shakespeare’s Romeo and Juliet, shows how a generative narrative space evolved around the students’ use of social media in ways they had not previously considered both for authoring and for delivery of their final narrative artifact.

This volume contains scientific papers and case studies presented at Interactive Sto- telling ’08: The First Joint International Conference on Interactive Digital Storytelling (ICIDS), held November 26–29, 2008, in Erfurt, Germany. Interactive Digital Storytelling (IDS) is a cross-disciplinary topic, which explores new uses of interactive technologies for creating and experiencing narratives. IDS is also a huge step forward in games and learning. This can be seen through its ability to enrich virtual characters with intelligent behavior, to allow collaboration of humans and machines in the creative process, and to combine narrative knowledge and user activity in interactive artifacts. IDS involves concepts from many aspects of Computer Science, above all from Artificial Intelligence, with topics such as narrative intelligence, automatic dialogue and drama management, and smart graphics. In order to process stories in real time, traditional storytelling needs to be formalized into computable models by drawing from narratological studies. As it is currently hardly accessible for creators and e- users, there is a need for new authoring concepts and tools supporting the creation of such dynamic stories, allowing for rich and meaningful interaction with the content.

The idea of storytelling goes beyond the borders of language, culture, or traditional education, and has historically been a tie that bonds families, communities, and nations. Digital storytelling offers opportunities for authentic academic and non-academic literacy learning across a multitude of genres. It is easily accessible to most members of society and has the potential to transform the boundaries of traditional education. As concepts around traditional literacy education evolve and become more culturally and linguistically relevant and responsive, the connections between digital storytelling and disciplinary literacy warrant considered exploration. Connecting Disciplinary Literacy and Digital Storytelling in K-12 Education develops a conceptual framework around pedagogical connections to digital storytelling within K-12 disciplinary literacy practices. This essential reference book supports student success through the integration of digital storytelling across content areas and grade levels. Covering topics that include immersive storytelling, multiliteracies, social justice, and pedagogical storytelling, it is intended for stakeholders interested in innovative K-12 disciplinary literacy skill development, research, and practices including but not limited to curriculum directors, education faculty, educational researchers, instructional facilitators, literacy professionals, teachers, pre-service teachers, professional development coordinators, teacher preparation programs, and students.