NarraScope 2024

 

Desde hoy y hasta el próximo domingo se celebra la edición 2024 de NarraScope, un evento donde se analiza la ficción interactiva, la narrativa hipertextual, juegos narrativos y, en general, los desarrollos y avances que cada años de producen en literatura digital. Hay conferencias, mesas redondas y talleres y algunas charlas se dieron ya a primeros de mes.

El programa es:

Viernes, 21

* Taller Creating a More Dynamic Narrative World: an Inform Workshop for Post-Beginners, por  Judith Pintar

* Teachers Talking Turkey about Teaching I, por Chris Klimas, Katryna Starks

* Game Jam Debrief

* Learn the Basics of Writing Branching Narratives with Yarn Spinner, por Paris Buttfield-Addison

* Relikpunk Oddities, por Rainer Wren Dalton, Laya Liebeseller, E. L. Meszaros y Mairi Nolan 

* Mesa redonda, Birds-of-a-Feather sessions

* Sala de exposición de diversas obras. 

 Sábado, 22

* Spatial Tales and Highland Songs, por Nat Clayton

* Interactive Fiction as Embodied Storytelling: Why We Need to Think about Immersive Player Types, por Judith Pintar

* Interactive Fiction in the Library, por Brendan Desilets y Colin Post

* It’s All in the Cards: Tarot, Pattern Language and Player Agency, por Joseph Sutton

* Make the Player Do the Writing, por Ziba Scott

* Using IF Tools for Introductory Astrophysics Tutorials, por Michael Stage

* AI is Obsolete: Generative Glitch Narratives, por Nilson Carroll

* Random Testing for Narrative Game Autumn, por Chen

* Telling Stories Through Translation: The Trials and Tribulations of Using Language Translation as a Game Mechanic, por Jet Vellinga

* Architectural Storytelling: Worldbuilding through Time, por Katryna Starks

* Strong Characterization in Short Games, por Tabitha O’Connell

* My Experience as a First Time Visual Novel Writer, por Valencia Coleman

* Refracting Freytag’s Pyramid: Aleatory Elements and Interactive Fiction to Teach Narrative Design, por Trent Hergenrader

* The End of the Day: Turning a Solo RPG into an IRL Public Art Installation, por April Soetarman

* How Belgian Reality TV Made Me a Better Game Designer, por Sophie Mallinson

* Inviting the Player to Practice Positive Self-Talk, por Nicholas O’Brien

* Rocks and Why They Matter, por Hexe Fey

* Everything is Storytelling – But is it Coherent?, por Gary Chadwick

* The Art of Ludic Adaptation: How to Make Games Out of Books, Movies, or Almost Anything, por Tim Bryant

* Building Captivating Character Psychology using the Enneagram, por David Kuelz

* The Time Travel Agency’s DATTOPIAS, por Jocelyn Ibarra

Domingo, 23

* Big Story, Tiny Engine: Hacking Bitsy to Tell Rich, Puzzle-Driven Stories, por Nat Mesnar y Elana Bell Bogdan

* The Art of the Shitty First Draft, por Rick Stemm

* Choose Your Own Ed-venture: Multi-User Dungeons and Computer Science Education, por Douglas Luman

* First Person Talkers: Simulating Conversation, por Geoffrey Golden

* Utsuge and Nakige in the Dating Sim Genre: Why is There So Much Death in my Dating Games?, por Mar Ferreri

* Game Arts Education: Bridging Narratology and Ludology, por Shaun Foster

* Genre As A Lens: A Holistic Genre-Driven Approach to Game Narrative Analysis, por Hélène Lupa

* Between the Story and the World: Better Interactive Worldbuilding, por Ben Schneider

* Teaching IF: or How to Talk Into a Classroom with a Bunch of Red Balloons and Walk Out With a Story, por Deena Larsen

* Building Empathy Through Interactive Fiction in the Video Game Peaceland: Choose Your Memory, por M. Kristana Textor, Josh Stead-Dorval y Marcia Byron Hartwell

* Let’s Keep Talking About Collecting Narrative Games in Libraries, por Colin Post

* Germinating Playwriting from The Quiet Year, por Will Lowry

* Teaching About Mental Illness through Play, por Tim Rattray

* It’s Still Too Complicated: Developing a Storytelling Game System for Low-Resource Classrooms, por Scott Nicholson

* A Game Design Analysis of Improv Theater, por Matthew Vimislik

* The IFTF Grants Program, por Vincent Bondy

* Hope in the Transcendental, por Alexander Swords

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