SAGAs – writing interactive fiction

Peer-to-peer creative cross disciplinary lab on concepting interactive narrative pervasive applications. Attendees will form teams of three to five members and develop during this intense 5-day think tank concepts for pervasive narrative multi-user applications considering challenges, limitations and advantages of the choice of genre.

In this lab the attendees - all experienced professionals themselves - will serve as experts as well.

Requirements for participation:

At least two years experience in developing mobile or multi-user or mixed reality applications.

(To apply for this lab please send an email to sagas@sagas.de with your cv stating your professional experience and skills as well as a special interest topic you would like to explore at the lab.) - no more places available.

In this intensive workshop the relationship between storytelling, visual media techniques, game design and interactivity will be explored in depth. Participants will learn to apply their knowledge of media and narrative
to the new arena of digital technology by developing their own ideas for an interactive product, which are then processed in a group design and presentation phase. Participants will develop, in teams, presentations for an interactive narrative product which is then discussed and evaluated by the entire plenum.
(There is a limited budget for scholarships availble.)

In this intensive five-day workshop, the participants will work both alone and in teams to develop a design treatment for a narrative game/an online world.They will begin by studying the fundamental principles of computer game design, and then go on to explore the relationship between interactivity and narrative.There will be a few lectures, but most of the activities will be fully hands-on, involving brainstorming, discussion, and presentations from the participants to the group.

Lectures and intense workshops will cover essential subjects to be considered during the development/pre-production phase for interactive entertainment projects.
During the Developing Interactive Narrative Content Seminar up to ten pre-selected (sagasnet selection board 2006: Sean Dromgoole, Mark Stephen Meadows, Brunhild Bushoff) interactive narrative projects in development (no limitation on media, genre or target audience) will be provided in parallel with up to ten high-profile face-to-face consulting sessions (on financing, project management, marketing, story structure, game play...). Consultants will be chosen according to the needs of the selected projects.

Master Class for Independent Producers of Interactive Entertainment
2006 top

Five day master class on team management, production management, risk management, outsourcing, marketing and distribution for independent creative producers.

Besides affecting production, distribution and projection technologies and procedures the rollout of digital cinema will enable interactive experiences in cinemas even without further major financial investments.

During this intense 5 day-workshop participants will explore the potential for new interactive film theatre experiences starting with a look back at early interactive cinema projects and building on advances in interactive technologies and media usage.
(keywords: multi-user <–> single location/several networked locations, live-gaming, VJing, machinima, group-interaction, live cinema, databased narratives, ad-hoc customization of content, live audience participation, expanded cinema, d-cinema-alternate content...)

In this intensive five-day workshop, the participants will work both alone and in teams to develop a design treatment for a narrative game.They will begin by studying the fundamental principles of computer game design, and then go on to explore the relationship between interactivity and narrative.There will be a few lectures, but most of the activities will be fullyhands-on, involving brainstorming, discussion, and presentations from theparticipants to the group. By the end of the workshop each team will haveaddressed a number of critical design issues, including genre, platform, target audience, user interface, the player's role, temporal structure,narrative structure, character and backstory creation, perspective, tool set, and media usage.

This practical workshop deals with the design and production of desktop interactive non-linear narratives using "live-action" video footage. All the different aspects of creating interactive movies will be explored, although the emphasis will be on the visual metaphors for interaction rather than written scriptwriting: participants will be asked to think laterally about their definition of narrative when issues of interactivity are concerned.Actual desktop production techniques will be demonstrated, but the course will concentrate on innovative and aesthetic issues rather than detailed technical complexities of delivery platform and software.A lecture-based strand of this workshop presents ways in which moving images have been, and could be, made interactive – investigating structure, interface and metaphor, and the importance of content. There will also be some discussion of the relevance of newly developing 'convergence' areas of interactive digital TV and set-top boxes. The practical strand shows how actual products could be piloted on a low-budget desktop system. Video cameras are provided for participants to generate their own video footage as a response to the techniques learnt, and the digital production cycle from video acquisition to multimedia authoring (Director) will be demonstrated.Within the short span of the course each participant (or small group) should be able to produce a modest piece of interactive digital video for presentation on the final day and to take home with them from the workshop.

Today's broadband technologies need bandwidth intensive usage in order to grow as an technological platform. At the moment this potential is used in a fairly traditional manner. To unlock user, user groups and emerging communities to migrate to broadband platforms innovative interactive concepts that build up meaningful participatory communication patterns are needed.

Interactive storytelling and interactive design represent the creative interplay between devoted users/communities and the writer/design team. The workshop will establish and explore a practical professional approach for the creation of innovative broadband concepts by

focusing on user-centred content creation,
designing interaction patterns based on storytelling and exploration,
building up self-generative fictional dynamics for community cohesion,
planning innovative directing tactics for professional content/design teams,
participatory publishing strategies.

This approach may be applied to telecommunication, broadcasting, game, film, art projects as well as creative initiatives for cities or museums…

In this intensive workshop the relationship between storytelling, visual media techniques and interactivity
will be explored in depth, participants will learn to apply
knowledge of filmmaking in this new arena by developing their own
interactive ideas, which are then processed in a group scripting phase.
Participants will develop in teams short treatments for an interactive film, story,
or narrative game which is then discussed.

In this creative workshop participants will develop fiction concepts for ITV in teams.
The workshop will in the first place focus on the exploration of the potential for interactive, participatory TV programme enabled by combining traditional broadcast with mobile and/or internet applications.

In this intensive five-day workshop, the participants will work both alone and in teams to develop a design treatment for a narrative game.

They will begin by studying the fundamental principles of computer game design, and then go on to explore the relationship between interactivity and narrative.There will be a few lectures, but most of the activities will be fullyhands-on, involving brainstorming, discussion, and presentations from theparticipants to the group. By the end of the workshop each team will haveaddressed a number of critical design issues, including genre, platform, target audience, user interface, the player's role, temporal structure,narrative structure, character and backstory creation, perspective, tool set, and media usage.

This practical workshop deals with the design and production of desktop interactive non-linear narratives using "live-action" video footage.

All the different aspects of creating interactive movies will be explored, although the emphasis will be on the visual metaphors for interaction rather than written scriptwriting: participants will be asked to think laterally about their definition of narrative when issues of interactivity are concerned.

Actual desktop production techniques will be demonstrated, but the course will concentrate on innovative and aesthetic issues rather than detailed technical complexities of delivery platform and software.

A lecture-based strand of this workshop presents ways in which moving images have been, and could be, made interactive – investigating structure, interface and metaphor, and the importance of content.

There will also be some discussion of the relevance of newly developing 'convergence' areas of interactive digital TV and set-top boxes.

The practical strand shows how actual products could be piloted on a low-budget desktop system. Video cameras are provided for participants to generate their own video footage as a response to the techniques learnt, and the digital production cycle from video acquisition to multimedia authoring (Director) will be demonstrated.

Within the short span of the course each participant (or small group) should be able to produce a modest piece of interactive digital video for presentation on the final day and to take home with them from the workshop.

In this intensive workshop the relationship between storytelling, visual media techniques and interactivity
will be explored in depth, participants will learn to apply
their knowledge of filmmaking in this new arena by developing their own
interactive ideas, which are then processed in a group scripting phase.
Participants will develop in teams short treatments for an interactive film, story,
or narrative game which is then discussed.

In this creative workshop participants will develop fiction concepts for ITV in teams.
The workshop will be accompanied by introductory lectures on different types of programming for iTV as well as iTV technologies.

The main aim is to explore the potential for interactive, participatory TV programming based on storytelling.

Peer-to-peer creative cross disciplinary lab on concepting interactive narrative applications for mobile devices.
Attendees will form teams of three to five members and develop during this intense 5-day think tank concepts for a mobile narrative application considering challenges, limitations and advantages of the choice of technology.
Emphasis should be on pervasive, location based and/or community creating interactivity.
In this lab the attendees - all experienced professionals themselves - will serve as experts as well.

Requirements for particpation:
At least two years experience in developing mobile or multi-user applications.
Good English language knowledge.

To apply for this lab please send an email to sagas@sagas.de with your cv stating your professional experience and skills as well as a special interest topic you would like to explore at the lab.

In co-operation with POEM and m-cult.
With additional support from the Oulu Polytechnic, Media Forum, Nokia and Apple Computer.

This practical workshop deals with the design and production of desktop interactive non-linear narratives using "live-action" video footage.

There will also be some discussion of the relevance of newly developing 'convergence' areas of interactive digital TV and set-top boxes.

In this intensive hands-on workshop the relationship between storytelling, visual media techniques and interactivity will be explored in depth. During part 1 participants work in teams on the development of several interactive narrative concepts, 2 – 3 of these concepts will be selected for being prototyped in part 2.

On Sunday 28th September 2003 from 3 to 6 p.m. - in the frame of the Game On exhibition at Taidemuseo Tennispalatsi , Helsinki -the three demo versions produced in part 2 of the Developing Interactive Entertainment workshop will be presented in public:

Purgatory -
a pilot for an interactive multi-linear ITV drama series

The projects will be presented from 3 to 4 p.m. and thereafter everybody is welcomed to try out these demo versions until 6 p.m.
In collaboration with TaiK, MediaLab and Crucible Studios.

Participants will form teams of three to five members and develop during this intense 5-day workshop fictional concepts for wireless devices considering the challenges, limitations and advantages coming with the choice of designing for mobile technology.

Future Psychology and the Wireless World
A future wireless world with bluetooth technologies assumes computers will become absorbed into everyday objects and environments. The mobile phone, a hand held remote control enables continuity and connectivity. The technology disappears. The city is HiRes. We enter a world of ambiguity. Context, material culture and behaviour already provides complex readings and meanings of this place. The rules are irrational and contradictory. There is space for interpretation. It lies within the ambiguity, between what the technology is doing and what people believe it is doing. Belief and imagination are powerful tools. Is this our way in?

In this creative workshop participants will develop fiction concepts for ITV in teams.

The workshop will be accompanied by introductionary lectures on different types of programming for iTV as well as iTV technologies.

The main aim is to explore the potential for interactive, participatory TV programming based on storytelling.

This practical workshop deals with the design and production of desktop interactive non-linear narratives using "live-action" video footage.

There will also be some discussion of the relevance of newly developing 'convergence' areas of interactive digital TV and set-top boxes.

In this intensive workshop the relationship between storytelling, visual media techniques and interactivity will be explored in depth, participants will learn to apply their knowledge of filmmaking in this new arena by developing their own interactive ideas, which are then processed in a group scripting phase.

Topics of discussion are: What is a film? – What is a game? – What is interactivity? - What is the difference between an interactive film and a computer game? - What is the state of the market, and what should you expect, as you begin to create?

- Temporal Structure: Real-time or player-driven
- POV: 1st, 2nd, or 3rd person
- Media: The cost/value of using text, graphics, 3D, and video
- Playerís role: actor, director, editor, writer, builder
- Activity: What is the player doing?
- Problem: What must be solved?
- Tools: How will users solve or act?
- Verbs: How many things can the user say to the problem?
- Where is perception? In the eye or in the brain?

On this basis groups develop short treatments for an interactive film, story, or cinematic game which is then discussed.

Participants will form teams of three to five members and develop during this intense 5-day workshop concepts for a mobile narrative game considering:challenges, limitations and advantages of the choice of technology as well as the impact of the choice of business model.

All relevant issues that designers do have to consider when thinking about wireless games will be addressed.

October 25 2002 - October 31 2002, ZKM (Center for Art and Media), Karlsruhe, Germany

In this creative workshop participants will develop fiction concepts for ITV in teams.

The workshop will be accompanied by introductionary lectures on different types of programming for iTV as well as iTV technologies.

The main aim is to explore the potential for interactive, participatory TV programming based on storytelling.

Participants will work in teams, learning the VirtualCinema system by creating small group projects. This is a practical, hands-on workshop which aims to give the participants an indepth introduction to VirtualCinema, a new approach to the creation of interactive filmed narrative.

Participants will work in teams to conceive, script, design, shoot, edit and program a small interactive video project using the VirtualCinema system and tools

There will also be some discussion on the relevance of in the newly developing 'convergence' areas of interactive digital TV and set-top boxes. The practical strand shows how actual products could be piloted on a low-budget, desktop system and within the short span of the course each participant (or small group) should be able to produce a short piece of interactive digital video for presentation on the final day.

Video cameras are provided for participants to generate their own video footage as a response to the techniques learned.
The production cycle from digitising through to multimedia authoring will be demonstrated.

October 05 2001 - October 11 2001, Center for Art and Media Technology (ZKM), Karlsruhe, Germany

In this intensive workshop the relationship between storytelling, visual media techniques and interactivity will be explored in depth, participants will learn to apply their knowledge of filmmaking in this new arena by developing their own interactive ideas, which are then processed in a group scripting phase.

Topics of discussion are: What is a film? – What is a game? – What is interactivity? – What is the difference between an interactive film and a computer game? – What is the state of the market, and what should you expect, as you begin to create?

– Temporal Structure: Real-time or player-driven
– POV: 1st, 2nd, or 3rd person
– Media: The cost/value of using text, graphics, 3D, and video
– Player’s role: actor, director, editor, writer, builder
– Activity: What is the player doing?
– Problem: What must be solved?
– Tools: How will users solve or act?
– Verbs: How many things can the user say to the problem?
– Where is perception? In the eye or in the brain?

On this basis groups develop short treatments for an interactive film, story, or cinematic game which is then discussed.

Presentations by additional experts show the latest developments in the field of new media (virtual reality, www, CD-ROM , DVD, iTV...)

In this intensive workshop the relationship between storytelling, visual media techniques and interactivity will be explored in depth, participants will learn to apply their knowledge of filmmaking in this new arena by developing their own interactive ideas, which are then processed in a group scripting phase.

Topics of discussion are: What is a film? – What is a game? -What is interactivity? – What is the difference between an interactive film and a computer game? – What is the state of the market, and what should you expect, as you begin to create?

This practical workshop explores different aspects of creating interactive movies with an emphasis on visual metaphors for interaction, as well as actual desktop production techniques.
A lecture-based strand of this workshop presents ways in which moving images have been, and could be, made interactive – investigating structure, interface and metaphor.
There will also be some discussion on the relevance of in the newly developing 'convergence' areas of interactive digital TV and set-top boxes.
The practical strand shows how actual products could be piloted on a low-budget, desktop system and within the short span of the course each student (or small group) should be able to produce a modest piece of interactive digital video for presentation on the final day.
Video cameras are provided for participants to generate their own video footage as a response to the techniques learned, and VCRs are also available in case participants wish to use previously shot footage. The production cycle from digitising through to multimedia authoring will be demonstrated.

In this intensive workshop the relationship between storytelling, visual media techniques and interactivity will be explored in depth, participants will learn to apply their knowledge of filmmaking in this new arena by developing their own interactive ideas, which are then processed in a group scripting phase.

Participants are introduced to new syntax and structures: Temporal Structure: Real-time or Player-driven; POV: 1st, 2nd, or 3rd person; Media: The cost/value of using Text, Graphics, 3D, and Video; Player’s role: Actor, Director, Editor, Writer, Builder; Activity: What is the player doing?; Problem: What must they solve?; Tools: How will they solve or act?; Verbs: How many things can the user say to the problem? Where is perception? In the eye or in the brain?

On this basis groups develop short treatments for an interactive film, story, or cinematic game which is then discussed.

Presentations by additional experts show the latest developments in the field of new media (virtual reality, www, CD-ROM...)

Results 2000

This practical workshop explores different aspects of creating interactive movies with an emphasis on visual metaphors for interaction, as well as actual desktop production techniques. The workshop explores ways in which interactive movies may be investigated and piloted on a low-budget, desktop system. Even within the short span of the course each student should be able to produce a modest piece of interactive digital video for presentation on the final day.

Participants have the opportunity to produce their own video footage as a practical application of the techniques learned. Video cameras are provided. VCRs are also available in case participants wish to use previously shot footage.

The workshop focuses on interactive space and time.
There will be ample opportunity for participants to interact with participants in Chris Hales' workshop regarding interactive visual techniques.

Working in groups participants will practice the first steps of producing a coherent treatment, scenarios, and storyboards for a proposed production, explore metaphors that might describe an interactive cinema interface for different presentation media and script interactive temporalities (where one story is told in chronological order and the other in reverse chronological order) as well as subjunctive temporalities (where the screen times of different cross-linked story streams are identical). They are also introduced to the notion of remediation as a method of thinking about the relationship between traditional film and new interactive media.

In this intensive workshop, participants learn to apply their knowledge of filmmaking in this new arena by developing their own interactive ideas, which are then processed in a group scripting phase.

Temporal Structure: Real-time or Player- driven;
POV: 1st, 2nd, or 3rd person;
Media: The cost/value of using Text, Graphics, 3D, and Video;
Player´s role: Actor, Director, Editor, Writer, Builder;
Activity: What is the player doing?;
Problem: What must they solve?;
Tools: How will they solve or act?;
Verbs: How many things can the user say to the problem?
Where is perception? In the eye or in the brain?

On this basis groups develop short treatments for an interactive film, story, or cinematic game which is then discussed.

Presentations by additional experts show the latest developments in the field of new media (virtual reality, www, CD-ROM...)

Results 1999

The first module concentrated on exercises in multiple narrative building developing into an ethnographical focus-group workshop in which students served as audiences for each other's group-scenarios. Focus group audiences were trained to imagine, describe, and ultimately design modes of interaction which were grounded in the group-scenarios rather than the presentational medium and its interfaces. The groups developed their own treatments and scenarios from scratch, rather than working from the stimulus of a treatment. The problem of intervention within the frame of an unfolding multiple narrative is not primarily a technical one but an artistic one. The groups attempted to introduce temporal shifting into their scenarios and finally discussed representational schemes and possible delivery media.

The second module extended the scenario building practice of the first module. Participants worked in groups and each group was asked to begin the process of producing a coherent treatment, scenarios, and storyboards for a proposed production. A series of physical exercises involved the participants in an exploration of methods to "break the frame" of visual narratives without losing dramatic intensity. Building upon the scenario building project, each group of participants created a physical story world for their group's narrative within the design studio using simple props, backdrops, costumes, and other design elements to suggest spatial design prototypes for narrative interaction. Then the participants "colorized", enhance, or otherwise manipulated a visual narrative to further explore spatial design prototypes.

Participants were invited to translate the spatial design prototypes to simple graphical computer environments as they continued work with the group-scenarios for their "House as Story" multiple narratives.

Results 1998

The first module dealt with the development from linear storytelling to narrative space. We began by analyzing the characteristics which distinguish linear print storytelling from the development of hypertextual narrative fiction. Hypertext was used as a visual form to explore the narrative space opened up by the new media. Multimedia technology, such as the World Wide Web, and tools incorporating sound and video, as well as 3-D graphics and virtual reality, were examined and demonstrated. This lead into a discussion of such vital issues as the changing use of point-of-view in the new media and the blurring distinction between fact and fiction in interactive works. We concluded by discussing the new dimensions thus opened up – substantiated by a survey of previous attempts at interactive cinema and entertainment.

The second module dealt with the development of interactivity. We began by demonstrating techniques for storyboarding interactive narratives. The special problem with interactive narrative is the necessity of working simultaneously on multiple story lines. Addressing this problem, we then introduced and employed software specifically designed for storyboarding multiple, contoured narratives. This was supplemented by a discussion of the new dimensions opened up by interactivity in multimedia. Unlike most computer games – where the construction of a story world is reduced to selections from a menu and inventory list embedded in the visual display – a true story world would invite the user to identify, develop, and explore proprioceptive and topological spaces created within the visual syntax.

Results 1997

Previous Courses