چکیده:
Considering the story hidden in the guise of "What if ..." and the plot in which not a passive but active spectator being a partner is an aesthetic as well as technological challenge. The purpose of this study is to investigate and provide a narrative structure that could be used as an interactive narrative structure in Drama Programs such as serial. In this, theories of narrative structure and interactive narratives have been studied, and by analyzing the elements of the interactive narrative that play the main role in creating the narrative and providing the possibility of changing the plot by the audience, we examine the indicators of these elements. In conclusion, after examining the narrative structure from different perspectives, Classical, Modern and Post-Modern, as well as computer games, we study interactive models and their features to provide a model for interactive narrative that makes the viewer deeply involved with the narrative (intrinsic interaction) and also generate an interactive film economically affordable
خلاصه ماشینی:
In this path, theories related to narrative structure and interactive narrative have been studied, and by analyzing the elements of interactive narrative that play a major role in creating the narrative and providing the possibility for the audience to change the plot, the indicators of these elements have been examined.
The common strategy in interactive narratives is creating a story with several possible endings and asking the audience to choose one of them, while neither the audiences nor the producers are satisfied with this approach.
(Refer to the page image) Figure 1: Branching narrative In the "string of pearls" model (Figure 2) used in video games, the story is formed from a "set of pre-determined events" that have a linear structure and are different worlds that can be explored.
Interaction (the freedom of action provided by new mass media) consists of the following four elements: First - connectivity; different forms of communication accessible through this medium (for example, one person communicating with many people; many people with many people; many people with one person); Second - flexibility; flexible use of the medium for audio-data-video communication in individual or group forms; Third - programmability; using the medium as a program for producing and processing information; Fourth - creativity; the potential to create personal messages.
This engagement becomes complementary as soon as behavioral interaction becomes necessary, meaning when it is in harmony with moments when the interactors (instead of the main characters) cognitively feel a pull toward the dramatic narrative sequence to change the course of events, rather than remaining waiting for what happens next.
(
, 
, 
)
