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Abstract
Narratives which were delivered through computational media are called Computational narratives. Computational narrative is a interdisciplinary topic involving many areas such Artificial Intelligence, Sociolinguistic and Human Computer Interaction and so on.

Computational media
Computational media plays an essential role in the computational narrative.In 1997, Janet Murray describes a set of characteristics of computational media especially relevant for interactive narrative. Abstract data structuring is often invoked as non-linearity and data-tagging in discussion of interactive narrative forms. Though it is standard to explicitly compose structures and enforce data typing in computer science, strict enforcement of data structure and type becomes novel when imported into the realm of narrative. Narrative information stored in a printed book is not modular or dynamically manipulable; it is not possible to add a new node and have it trickle down to its appropriate location in a tree when using film. The granularity of recombination of narratives and the meaningful definition of narrative elements are implemented by means of abstract data structuring. Dynamic execution provides the means for activating narrative information. It can allow new information to be deduced from a set of information and is the means to enact the restructuring of data structures. In a computational narrative, rules can be defined for search, manipulation, and retrieval of narrative information. Furthermore, non-narrative execution such as allowing user manipulation of synthetic computer graphics is possible. Polymorphic representation is an especially unique quality of computational narrative. One way of accounting for this notion is the “semiotic morphism,” a mapping between two representational forms. This is invoked as the ability to separate structure from representation so that one structure can be visualized in a multiplicity of ways. An example of this is the ability of information to be displayed differently in a text only on a Lynx browser as compared to a full graphical representation on a more robust browser such as Firefox. Using XML to describe data, while not enforcing a particular representation, is another example. Hence, a single story could be defined in such a way that it can be presented in text only, 3-D graphics, or digital video depending upon the situation. User feedback channels present possibilities including collaboration, competition, and conversation between the reader/user/player and the narrative. This feedback can be used to affect the dynamic execution of the narrative and to navigate the narrative data structures. The form of this feedback can vary over a wide range of input devices and conventions. Distributed networks enable the story to be stored and executed in a wide range of localities. This can increase processing power, but also can allow for remote users to access the narrative and for interaction among remote users. Massive storage is simply the ability to retain extremely large volumes of data in compact form. This feature naturally interacts with the other features. Abstract data structuring is necessary to make large data volume manageable. Polymorphic representation along with massive storage and dynamic execution make 3-D graphical representation possible.
 * Abstract Data Structure
 * Dynamic Execution
 * Polymorphic Representation
 * User Feedback Channels
 * Distributed Networks
 * Massive Storage

Narrative Intelligence
Narrative intelligence began as a term to describe a reading group that explored the contrasting ways in which texts are read in computer science and in literary theory. (Davis & Travers, 1999) It has developed into a unifying theme that brings together researches and artists in a range of disciplines to approach overlapping problems. Narrative intelligence considers the intersection of the development and interpretation of computational narratives, the development and interpretation of traditional media and conceptual narratives, and artificial intelligence research involving narrative. Narrative intelligence offers a useful account of different ways in which the relationship between narrative and computing can be viewed.

Sociolinguistic Narrative
Sociolinguists have done extensive empirical study of narratives of personal experience, which are told orally to a group of peers under natural conditions. These are important here because these narrative forms do not arise from critical analysis of written texts, but represent narrative “in the wild” as encountered in every day interpersonal interaction. Such models can prove to be useful for developing computational narrative experiences that parallel aspects of human communication. The model below has been favored in the work of Joseph Goguen in his work on social issues of user-interface design, where it may have first been presented in the context of computer science research. Goguen and the author have presented this account as applied to computational narrative in joint work in and elsewhere. The result of this work by William Labov, as refined by Charlotte Linde, can be summarized as follows : the setting (time, place, characters, etc.) for what will follow. events of the story; by a default convention called the narrative presupposition, these are taken to occur in the same order that they appear in the story. narrative events to values. a moral.
 * There is an optional orientation section, giving information about
 * main body is a sequence of narrative clauses describing the
 * Narrative clauses are interwoven with evaluative material relating
 * A optional closing section summarizes the story, or perhaps gives

Non-Digital Works
This brief subsection, rather than presenting a general account of harbringers of computational narrative as found in previous media, is meant to present several important examples relevant to the goals of the GRIOT system and works created with it discussed later in Chapters 4 and 5. An early relevant work is Raymond Queneau’s 1961 “Cent Mille Milliards de Poémes” (“One Hundred Thousand Billion Poems”), originally published as a set of ten sonnets with interchangeable lines, but later made available in computer implementations. This work is relevant because of its exploration of the idea of writing as a combinatorial exploration of possibilities, which exemplifies the experimental literary group Oulipo’s often whimsical use of mathematical ideas. This view is well explicated by another Oulipo member, Italo Calvino, in his essay/lecture “Cybernetics and Ghosts.” Calvino claims that writing is a combinatoric game and cites work such as Vladimir Propp’s morphology of the folktale to support his thesis. Calvino states “the operations of narrative, like those of mathematics, cannot differ all that much from one people to another, but what can be constructed on the basis of these elementary processes can present unlimited combinations, permutations, and transformations.” In Calvino’s novels, such as If on a winter’s night a traveler, there is also a strong sense of narrative coherence and a concern for a careful balance between experimental form and meaningful expression. The computational approach to narrative in this dissertation is more influenced by this concern for coherent subjective expression in Calvino’s work than merely the idea of utilizing mathematical techniques to arrive at poetry with variable structure for its own sake.

Text Based Interactive Fiction
Early attempts at interactive fiction focused solely on textual exposition. Some of these tackled the problem of believable character design, some addressed issues of interactivity and immersion within a fictional world (early adventure games), and some focused on branching structure within narrative. Joseph Weizenbaum’s ELIZA is an oft-cited early example of an artificial intelligence “bot” designed to communicate with a human in a convincing manner. (Weizenbaum, 1966) ELIZA is limited to imitation of a Rogerian psychotherapist, greatly reducing the type of utterances that the program is expected to write.

Story Generation
Automated construction of compelling stories is another problem that computer scientists have tried to tackle. Influential systems include Meehan’s TALESPIN and Bringsjord and Ferrucci’s BRUTUS. These systems raise questions about the nature of authorship. The authors of BRUTUS have provided it with a rich set of primitives and structures to work with. In some sense the authors nearly explicitly seem to determine the set of possible stories that BRUTUS can tell. BRUTUS’s stories are (arguably) interesting, but are they surprising or emergent? Perhaps with a large enough data-set and less highly specific data BRUTUS could construct a story that surprises its creators. Though the goal of BRUTUS is not to surprise its creators, within their AI and “literary Turing text competence” perspective, it seems that a story generation system should be able to come up with unanticipated output if it is to be considered robust. If all output could be anticipated from the structure of the program, then there is a good chance that a database narrative approach naively combining story elements would suffice.

Application
There are many examples of computational narrative, the following are some example.

Interactive Drama and Virtual Reality
The Oz project, which was headed by Joseph Bates at Carnegie Mellon University, is a strong example of interactive drama research. (Bates, 1992) Bates began with the observation that most previous virtual reality research focused on interface issues and how to present a simulated world in a convincing fashion. The Oz project instead focused on computational techniques for and theories for cognitive/emotional agents, narrative guidance, cinematic presentation style, and dramatic agency. If the interface and display technology issues are considered to be the surface structures in interactive storytelling then Bates considers organization and content of narratives to be the “deep structure.4” The work of the Oz project had three main trajectories as stated above. These are:
 * 1) Design of cognitive/emotional agents
 * 2) Techniques for presentation style (cinematically inspired)
 * 3) Integration of dramatic constraints

Games and Dynamic Systems
There is a subset of computer games that comprise a quite popular cultural form of computational narrative. There are striking differences, however, between computer games and more general computational narrative models. Computer games and multimedia works based upon dynamic systems use a style of programming called event-oriented-programming. A good example of this is The Eye of Wodon, developed by Peter Bøgh Anderson. It is a multimedia exhibit about Vikings that was developed for a museum in Denmark. Anderson asserts that the computer is an elastic medium in that the nature of what it presents is determined by physical actions performed by users. The narrative trajectory in a system of this type can be said to arise from a set of elastic constraints that grow more rigid as a user attempts to avoid them. If the user resists enough then these constraints can become rigid. In the absence of an overall specified narrative structure these types of constraints offer some narrative guidance.