Notes on the Use of Plan Structures in the Creation of Interactive Plot
Notes on the Use of Plan Structures in the Creation of Interactive Plot
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创建交互式绘图时使用计划结构的注意事项
DOI：
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发表时间：
1999
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通讯作者：
R. Young
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文献类型：
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作者：
R. Young
交互式系统定义了一个虚拟空间，无论系统的界面是否提供了对Stroggos的不良行星的访问，还是这两个系统的Microsoft Windows桌面的访问权限。他们的个人和集体活动。界面是由界面的模拟质量引起的，而叙事理论家经常讨论与Diegesis的对比，区分显示与讲述的概念（亚里士多德），我的重点是区分一个打算模仿的文物某些东西并不是真正的东西，这是一个被误认为是前案的例子后来的可能是一个虚拟现实系统，显示出诸如最长的一天的图形图像。旨在“ ...在视觉上与现实世界的图像无法区分”（Greenberg 1999）（第45页）。是空间的模仿特征，以及我们与模拟物的互动，使我们作为用户在互动过程中带来了我们对叙事理解的所有知识（Brannigan 1992）。进入虚拟空间，好像用户和系统作者之间建立了叙事合同。
An interactive system defines a virtual space, whether the system’s interface provides access to the inhospitable planet of Stroggos or the Microsoft Windows desktop. Users of both these systems interact with a place, one created by a computer and in which users and computational agents carry out their individual and collective activities. The intuitive and often-discussed benefit of a well-designed interface metaphor is that it allows users to carry over conventions from their "real" experience when performing tasks within the interface world. Another key and often unarticulated value of an interface arises from the interface’s mimetic quality. While mimesis is often discussed by narrative theorists as a contrast to diegesis, distinguishing the concepts of showing versus telling (Aristotle), my emphasis here is to distinguish between an artifact that is intended to be an imitation of something, but is not really that thing and an artifact that is intended to be mistaken as that thing. An example of the former case would be a film of a fictional account of the D-Day landing on the beaches of Normandy. An example of the later might be a virtual reality system displaying photo-realistic graphical images of a physical space. D-Day stories like The Longest Day and Saving Private Ryan are, in some ways, imitations, and so are more mimetic than VR systems whose design is intended to "...produce synthetic images visually and measurably indistinguishable from real world images." (Greenberg 1999)(pg. 45). The interface to a virtual space presents an abstracted, artificial representation of a world and the activities within it; it is the mimetic character of the space, together with our understanding that we are interacting with a mimetic artiflcat, that allows us as users to bring to bear all our knowledge of narrative understanding during our interaction (Brannigan 1992). When a user enters into a such a virtual space, it is as if a narrative contract is established between the user and the system’s authors. 1 The contract establishes