This thesis is focusing on the emotion of fear in conjunction with an interactive narrative experience. It analyses the emotional scope fear entails as well as discusses different narrative formats and interactivity in terms of agency. Through extensive research on the topic at hand, multiple prototypes is developed focusing on expressing different variations of fear while experimenting with the narrative structure and interactive elements available through the software Twine. Based on this, conclusions were made on the complexity of designing for an emotion and the difficulty in reaching more intense feelings of fear. There was also a struggle of balancing interactivity with narrative while also designing for a frightening experience. Lastly, final conclusions were made on the prototypes abilities to produce frightening responses, which ultimately showed signs towards lesser feelings of fear, such as nervousness, anxiety and trepidation.

This thesis consists of a preface and three original short stories. The preface explores the idea that narrative designthe shape or structureof a story may become a literary motif in its own right. The three stories included are creative nonfiction and each employs a distinct modular design. The themes of the stories revolve around personal identity and values; families and marriage; and creative empowerment.

This project started with the Taiwanese�s Cultural & Creative Industries Policy, which demands that all new products include local cultural content. However, little is known about Taiwanese cultures. This research looked specifically at one of the cultures, the Paiwanese Tribe. This thesis reports on the research journey; identifying what the Paiwanese knew about their culture and why they were unable to produce traditional products. It argues that the displacement of the tribe has made it materially impossible to continue traditional practices. This research then identified ways of capturing spirit of traditional culture using modern technology. A successful model of working with crafts people workshops in discussed. A case is made for the use of narrative enquiry and oral history to record Paiwanese understanding. These understandings were translated into a design outcome using a design method called narrative design. The success of this research suggests that such an approach is one model that can be used in design using new technologies and materials from the re-establishment method of traditional products. The understanding generated for regaining traditional craft knowledge is extended with the design of a tea set that draws on this traditional knowledge, narrative and culture. The tea set represents this knowledge for a global market. It is argued that the design process used can guide design that transforms the culture message and delivers it for a wide audience. This design concept process is a model that can be used to develop cultural products.

The research aims to investigate how the 2D slot game “Lucky Hero”, created for this research, could convey the story of Beowulf. The result of this study could provide experience and strategy for improving narrative design in casual games with similar mechanics. Also, this study is valuable to developers/designers who want to explore the potential of using casual games, especially slot games, as a storytelling tool. To answer the research question “How could the 2D slot game Lucky Hero convey the story of Beowulf”, a “research for design” qualitative study was conducted. The researchers examined theories related to narrative design, design in slot machine games, and folk mythology to develop the game. Playtests followed by interviews and adapted stimulation recall were used as data collection methods, and thematic analysis was used as the data analysis technique. The findings revealed that the existing design of "Lucky Hero" was not capable of effectively conveying the story of Beowulf to players. However, the study identified key elements that influenced players' understanding, such as graphics and game mechanics. The future narrative design of “Lucky Hero” should focus on improving immersion, character representation, and the connection between game mechanics and the story.

In Between: A Journey of Cultural Integration is a multimedia art installation that tells the story of a Korean girl’s cultural integration journey. The story was inspired from my personal experience of moving from South Korea to the U.S. In the 12’ x 14’ room, the narrative was delivered by media. The story was introduced by the projected text of a diary on a book in the middle of the room. The images that were projected on all four walls enhanced the narrative. The each viewer was forced to experience the installation alone and experience the loneliness of the journey. The successful collaboration between scenic and media was important for creating a cohesive design for this project. I worked with several projection designers to create the narrative development. Throughout the process, the boundary between scenic design and media design became blurry and I and my collaborators became a creative team as a whole. This project was intended to share my personal story of cultural integration with a broader audience by inviting them to have a different perspective view towards the immigration community in America. It also became my personal challenge to create a space that could tell a story without an actor. / text

Stories are the oldest medium to entertain and transfer information. Naturally, storytelling is also a fundamental aspect of digital games. In other words, narratives are the basis or framework of games. This thesis examines and tests two approaches in linear narrative design: the Minimal Linear Approach and the Enriched Linear Approach with the learning goal of fundamentals of cyber-security. The same story is examined with two different narrative designs by how they impact the immersion aspect of the pilot game. Although the two prototypes' main stories are identical, the enriched linear approach with more gaming elements and content is more immersive according to the collected and analyzed data. / <p>There are other digital material (eg film images or audio files) or models/artifacts that belongs to the thesis and need to be archived.</p>

[pt] A narrativa é um elemento essencial para o ser humano. Narrar eventos e registrar fatos é uma forma de garantir sentido à existência do indivíduo. O jogo eletrônico, por sua vez, é uma mídia que tem causado ampla repercussão nos últimos anos. O panorama dos jogos demonstra que a partir de seus feitos econômicos, essa modalidade de obra digital gradualmente se consolidou como um elemento de expressão e cultura contemporânea. Em razão de seus gêneros, os jogos assumem diferentes formas e proporcionam variadas mecânicas de interação para engajar seus jogadores. Uma destas formas ocorre por meio da história do jogo. Por este motivo, ao longo do tempo, determinados jogos se tornaram marcos em razão de suas narrativas. Surge, portanto, a indagação: O que exatamente é a narrativa de um jogo? Como é criada e transmitida? Por que é elogiada por jogadores? Por fim, como potencializar a experiência de uso nos jogos eletrônicos a partir de sua narrativa? Para investigar estas questões, a pesquisa adotou como objetivo analisar a relação entre narrativa (em sua concepção geral) e a mídia do jogo. Para tanto, com base principalmente nos conceitos de Bomfim, Salen e Zimmerman, Bakhtin e Ricoeur, define-se o que é Design, Jogo, Gênero e Narrativa com vistas à conexão entre estes temas no âmbito do design de jogos eletrônicos. Em seguida, são apresentados os resultados de uma pesquisa de campo realizada com jogadores e analisados aqueles destacados pelos entrevistados por conta de suas narrativas. Ao final, é promovida uma reflexão acerca da relação design de jogos e design de narrativa. Conclui-se que a narrativa abrange uma definição particular dentro da mídia dos jogos e que é possível potencializar a experiência de uso nos jogos eletrônicos por meio do encadeamento entre a história e as mecânicas de participação do jogo. / [en] Narrative is an essential element of human life. Narrating events and recording facts are ways of ensuring meaning to the existence of any individual. Electronic games, in turn, are a medium that has caused widespread repercussion in recent years. The gaming landscape became widely known due to its economic achievements, but gradually, games established themselves as a digital representation of expression and contemporary culture. Because of their genres, games take different forms and provide varied interaction mechanics that engage their players. One of these possibilities is through the game’s story. Therefore, throughout the years, some of them became landmarks because of their narratives. In light of this scenario, certain questions arise: What exactly is a game’s narrative? How is it created and transmitted? Why is it praised by players? Finally, how is it possible to leverage the experience of electronic games from a narrative perspective? To investigate these issues, this research chose to analyze the relationship between narrative (in its overall definition) and the game medium. Based primarily on the studies of Bomfim, Salen and Zimmerman, Bakhtin, and Ricoeur, the theoretical foundation of this work proposes definitions for Design, Game, Genre, and Narrative, as well as their connections to the topic of game design. In sequence, the results of a research conducted with players reveals their views regarding narrative and which games stand out. Lastly, in order to connect all concepts discussed, the work reflects on the relationship between game design and narrative design. The conclusion is that narrative dons a unique definition within the game medium and the interweaving of game mechanics and game story is especially apt at enhancing the player experience.

Inom forskningsområdet för serious games (SG) råder en oklar uppfattning om narrativets roll i lärande-spel, samtidigt som SG som koncept har visat sig ha positiv effekt i flera studier. Mot bakgrund av detta undersöker den här studien hur unga vuxna uppfattar den berättelsedrivna speldesignen i ett ordförståelse-spel som självskattad motiverande faktor för att spela vidare. En artefakt, inspirerad av högskoleprovets ORD-del, och enkätfrågor användes för att samla in data från 26 respondenter. Kombinationen av ordförståelse och narrativ kontext visade sig vara ett uppskattat koncept av majoriteten trots ett varierat resultat angående motiverande faktorer för att spela vidare; spelet uppfattades som ett alternativ för att öva ordförståelse. Resultatet utmynnade i ett antal speldesign-principer för spelarens motivation att spela vidare, lämpliga att ha i åtanke vid utvecklingen av liknande lärande-spel. På längre sikt skulle studien kunna fokusera på huruvida spelkonceptet har potential för inlärning och studera eventuella kopplingar mellan detta och motivation. / While serious games (SG) as a concept has been proven effective in several studies, there is a residing unclear perception regarding the role of narrative in games for learning. This study examines how young adults perceive the narrative-driven game design in a word comprehension game as a self-evaluated motivational factor to continue playing. An artifact, inspired by Högskoleprovet, and a survey were used to collect data from 26 respondents. The combination of word comprehension and narrative context proved to be an appreciated concept that the majority, despite varied results regarding motivational factors to continue playing, perceived as an alternative learning method. Game design principles in regards to motivation to continue playing were formed which would be useful to have in mind when developing similar games for learning. Long-term, this study could focus on whether the game concept has the potential for learning and to study possible connections between this and motivations.

With nineteen years of democracy behind us, South Africa has experienced uncountable changes within its borders and on various playing fields. One of the most memorable changes, in my opinion, was in education. This motivated me to embark on a study about the responses of Heads of Departments (HoDs) to curriculum changes. I especially wanted to focus on the management of those changes. The focus on HoDs arose from the devolution of responsibility from the principal to the HoD with regard to curriculum change. This uninterrupted cycle of curriculum change that South Africa is experiencing occupies the HoDs to a large extent. They have to ensure that the changes take place as smoothly as possible with as little resistance as possible. In order to accomplish this, one would think that the HoD would be trained in managing a department and curriculum changes. This is unfortunately not the case, and they are following their own guidelines that they have constructed through trial and error. This study was conducted through a narrative design within a qualitative framework, allowing me to give a voice to those who have none. It required me to have focus group interviews, which laid the foundation for my semi-structured interview. The use of documents assisted with the crystallisation of the data. This research was conducted in the Lady Frere district of the Eastern Cape. There were two sets of HoDs from different schools, and one participant willing to participate in a semi-structured interview. The purpose of this study was to find out what guidelines HoDs had constructed by looking at HoDs’ responses to, and management of curriculum changes since 2005. It became very clear that there is some confusion about what is expected of the HoD during the change process and the HoDs in this study felt it better to follow traditional methods of teaching, as this was all they knew. However, the focus on producing quality education was very important to them. / Dissertation (MEd)--University of Pretoria, 2013. / gm2014 / Education Management and Policy Studies / unrestricted

This study set out to explore how Official Development Assistance was practised in South Africa. An exploratory narrative design was followed to uncover the ‘strategy in the skin’ of strategy practitioners in the unit of analysis and to respond, therefore, to the research questions. This study has contributed to the body of knowledge in that it has brought together an alternative confluence of three theoretical perspectives of strategy as practice; complex adaptive systems and organisational hypocrisy and has explored the impact of the practice lens on these standpoints. While there has been extensive research on each of the theoretical perspectives, there has not yet been a study that has drawn together the three perspectives in relation to an empirical unit of analysis such as Official Development Assistance practices and practitioners. The study responded to a knowledge gap in relation to how public sector organisations, such as government units and the strategy practitioners of such units, practice strategy beyond the reified, formalised conceptions of strategy and in relation to their inhabiting complex, political organisational systems. The study arrived at two central theoretical findings. Firstly, that strategising represents a calibration of strategic practices towards strategic outcomes through the activities of complex adaptive practitioners v within the more politically inclined organisation. Secondly, that beyond the text of strategy, there is sub-text that is equally part of the micro strategy towards strategic outcomes.The skilful and sometimes delicate balancing act, that strategists perform to legitimise the calibrated combinations of action and politics in organisational strategy, equally needs nuanced, subtle and more complex forms of organisational communication. The study, therefore, makes the claim that complex adaptive systems and the characteristics of political organisations (as not being geared to action) are inherently broadened through the multiple dimensions of the practice turn and strategy as sub-text. The research confirmed that strategy as practice is a useful lens to understand strategy beyond the formally documented scripts and espoused pronouncements of strategy within organisational studies / Business Management / D.B.L.