Editor: Halina Gottlieb Michael Danks The Interactive Institute Interactive Storytelling Exhibition How to produce a virtual interactive story to engage visitors with the real world Fishermen on Brighton Beach in 1871 by Edward Fox Michael Danks
Interactive Storytelling Exhibition How to produce a virtual interactive story Editor: Halina Gottlieb The Interactive Institute to engage visitors with the real world Brighton Fishing Museum ‘The Skylark’ on Brighton Beach in 1951 Interactive Storytelling Exhibition
Fantasy brings seafront to life
Brighton Fishing Quarter
Visitors to museums and areas of cultural The Brighton Fishing Museum provides interest are frequently offered a variety of an ideal situation for the creation of an media to guide and enhance their experience. interactive adventure story. Located in the The interactive storytelling exhibition vibrant seafront fi shing quarter between the demonstrates a new paradigm with potential city and the beach, the museum has a strong to guide and engage visitors according to their central theme. The permanent exhibition language, age, interest or ability. displays objects and memorabilia collected from two hundred years of seafront life. Storytelling is widely recognised as being Images of life and characters from the an effective way to engage the mind fi shing community illustrate how the area and understand the world around us. An has changed, adapted and thrived through interactive location-based story can immerse time. a museum visitor into a collection and the surrounding environment.
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A virtual adventure story was devised and episodes and games into the computer system technology was originally created by students from the University network. At the end of each episode the created for the British Broadcasting of Brighton to engage young people system provides a unique kick off/lock Corporation. An interactive storytelling between eight and fourteen years of out feature encouraging users to leave exhibition on the theme of Ancient Egypt age in local community history and the the interactive screen and explore the is also permanently installed at Torquay collection on display. surrounding exhibition. The underlying Museum in Devon, England.
Visitors start their interactive adventure by registering their names on a computer system. The computer network provides a personalised journey requiring visitors to explore every corner of the museum. During their visit they identify key points in local history, taking a journey through two hundred years to the present day. On completion of their experience the system provides visitors with a personalised printed paper record of their journey, highlighting learning outcomes and providing a perfect souvenir of their experience.
The students who created the Fishing Museum narrative used an intuitive open source template editor to arrange story Brighton Fishing Museum
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How it works: Experiencing the Interactive Storytelling Exhibition Visitors take an identity card and register a user name onto a computer network. The card is used to identify visitors to the system.
Visitors ‘time key’ RFid identity card
The unsupervised museum is open all year round 7 days a week from 09:00 ‘til dusk Registration client screen – Start Here
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Registration client screen – Enter Name Registration client screen – Thanks for registering Media client screen – default
After registration the system shows a short audio/visual introduction to the story. A screen character addresses the visitors directly, asking them to uncover a fact within the context of the exhibition, the information visitors fi nd will be vital to move the story forward. Visitors are then ‘kicked off’ and ‘locked out’ of the interactive system for a given length of time. Because the system knows ‘who is who’ any attempt to engage with the interactive screen is met with a message from the system instructing the visitors to explore the Media client screen – Kick off Media client screen – ‘Lock out’ exhibition and undertake the given task.
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Information the visitors discover in the screen story, off-screen challenge, on-screen surrounding exhibition is helpful for the game within a narrative context. screen character, and when the visitors return to the system they play an onscreen Finally the visitors are offered a choice game to prove they have uncovered facts the of a themed print-out summary sheet screen character needs. Visitors are offered personalised with their registered name. further challenges, repeating the cycle of on- Personalised print-out souvenir with the visitor’s name
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What it takes: Making an – Content production (including licensing Interactive Storytelling Exhibition and rights): 45% – Software adaptation and licence: 12% Time and money – Technology and implementation: 30% Every project is dependent on the vision – Project management: 8% for the project and the funds available to – Contingency: 5% fulfi l the vision. The greater expense usually comes in the employment of a team with the The production team and appropriate skills to carry out the work, as workfl ow discussed in the next section. Between them, the three students involved with the Fishing Museum project had strong The Fishing Museum exhibition was built by video production and graphic design skills postgraduate science masters students as part combined with a working knowledge of of their digital television management and Photoshop and web publishing tools. Visits to production course. All the work was completed the museum enabled them to meet with local within a two-month window as part of an end characters and visitors and understand the of course project. Their course leader and museum ethos and key exhibition themes. the creators of the software were on hand to They decided to make the experience rich in supervise and advise on technical and creative video and quickly devised a story to appeal issues as they arose, but the narrative content to the intended audience. None of them and essence of the exhibition was entirely were able to build sophisticated screen based created by the students using the free open games, thus they relied on repurposing source software template. existing games available within the template editor. The narrative and games script went In a non-research implementation the costs through a couple of draft iterations before may be broken down as follows: shooting began. Each corner of the Museum has its own theme
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before taking it to the museum. The system graphics and identity cards were created, and instructions on how to use the system in the museum were designed for visitors.
or
Friendly Society memorabilia associated with the Photographs of the artefacts on display and the space were used as reference material Fishing Community for brainstorming sessions in the classroom
Actors for the story were found, and dates Whilst one member of the team was editing continued, audio voice over was written for shooting on location arranged. The the fi lm narrative material, the two other and recorded. On completion, assets where shoot was undertaken using two cameras to team members created assets required brought together into the template editor help with continuity and enable a fast turn to build the games, background graphics and consolidated into the computer system. around. and visitor instruction slides. As editing The system was now ready to test off-site.
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When the students were fi rst introduced Constructing a story to the system capabilities, it was clear that An interactive storytelling exhibition they could provide a complex interactive primarily aims to engage the visitor with service catering for a variety of specialist a virtual story and use this story to interpret visitor needs. Analysis of user data from an exhibition in the real world. the BBC Egypt pilot exhibition showed a positive response to the experience from The interactive storytelling exhibition younger people and as a direct reaction to paradigm dictates that a story shall this the students decided to focus efforts on have clearly defi ned episodes with an engaging eight to fourteen year olds. integrated game within each episode. Most importantly the strength of All museums are a popular destination for the paradigm suggests that visitors school visits. It was observed that young should not spend time at the computer people on entering the museum without terminals but rather spend more time the focus provided by a teacher fi nd little exploring the exhibition, discovering of interest, apart from the model boats facts and information. The construction which look like toys, indeed many young of the story therefore is of crucial people fi nd it diffi cult to engage with much signifi cance in the development of of the collection. This fact added weight Model fi shing boats on display a project. to the argument to employ a fantasy story involving a young girl in a contemporary setting, which the student production team Themes in and around the museum were Depending on visitor needs, the interactive felt would contrast with the tradition of the analysed for potential story content. Whilst computer system can be confi gured to museum to surprise and appeal to a younger the central theme of the museum is strong, provide personalised content according to audience. the students struggled to fi nd a convenient language, age, interest or ability. link for the themes. Time constraints of
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production factored in making the decision The story for the museum was simple in its to construct a fantasy story. The fi nal chosen construction and thus more easily told with theme of the overall narrative is time travel, uncomplicated dialogue and only three which allowed the story characters to send characters. the museum visitors on a hunt to fi nd key pieces of information needed to progress on The story a journey through time. A young girl called Lucy is walking along the seafront with her mother who is engaged in The story also carries vital instructions on how conversation on her mobile phone. to use the system and the screen characters are used to give these instructions to the visitors. Lucy slips away unnoticed into the museum Old fi sherman Making direct demands to an audience from where she meets a strange character. The within a story requires a particularly clear man she meets tells her that she has fallen character role (i.e. someone in the story who into a time tourist trap from which she will needs information for a tangible reason within not escape without the help of another the narrative context). museum visitor. He explains that she will need to gather ‘time keys’ to travel home, Combining all these factors requires extreme these keys are in the museum and the visitor economy in setting of scenes, establishment can help her fi nd them. of screen characters and the narrative itself. So Lucy asks the visitor directly if they can For each episode there is an associated game help fi nd the keys. Each key is linked with an which is both informed and driven by the era in history. To prove they have found the narrative. When the story is being devised keys, the visitors will need to complete an it is important to think of integration of on-screen game and thus enable Lucy to get a suitable game for each episode. Lucy with her mum outside the museum home safely.
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to the visitors from Lucy is printed out with the chosen image.
When Lucy thanks the visitors for their help, her mother ends the phone conversation and turns to Lucy to ask, ‘Who are you talking to?’ Lucy simply replies, ‘Nobody,’ and winks to the camera as she walks off into the sunset in the shadow of the iconic ‘Skylark’ pleasure boat. Lucy asks the visitors for help to fi nd the ‘time keys’ Lucy and her mum reunited, walk off home Making it work in the space At the end Lucy is reunited with her mother. she will send one of three of her favourite For the interactive story to be a success, it is In her gratitude Lucy offers to write the pictures in the museum. The visitor chooses key that the experience should be fun and the visitor a letter of thanks, and with the letter their favourite picture and a letter addressed opportunities for learning maximised. This
Three of the fi ve ‘time keys’ hidden around the museum
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section demonstrates how the opportunities museum collection to print out as a souvenir. the interactive screen and is presented with for learning offered by the system were So in summary, Lucy asks visitors for three four possible answers. If the visitor selects an exploited in the museum context. key facts and she asks them to arrange some incorrect date they will learn an interesting pictures in order. Finally, she offers them fact about the date they choose through The story revolves around Lucy being stuck in a choice of postcard images. screen text and audio, with the caveat that a time trap. To escape she will need fi ve ‘time this is not the date Lucy is looking for and keys’. The fi sherman she meets in the story has The fi rst interactive challenge for the visitor they need to try again. one key, the visitor in the museum has another is to discover the year in which the Odd (i.e. the rfi d card), leaving three further keys for Fellows Lodge was established in Brighton. The second interactive challenge is to name the visitor to fi nd hidden around the museum. The lodge was in fact established in 1822. the location of the fi sh market in 1868. The This information is hidden in the context of information is found on a poster on display. Each of the keys is situated next to an exhibit a short document on display, and to fi nd it On returning to the screen if the visitor selects with a specifi c fact or piece of information. visitors need to read through the document. the wrong location they will learn a fact about Names and numbers work well as the visitor Armed with this fact the visitor returns to that location and be asked to try again. more readily remembers them, and they make for simple questions from Lucy: ‘What…? Which…? When…? Where…? Who…?’
Furthermore it is easy to construct multiple- choice answers for the screen game associated with each episode. After three of these multiple choice games a picture sorting puzzle brings together all the key images enabling Lucy’s return to the present day and the fi nal opportunity for the visitor to choose GAME 1: In what Year was the fi rst Odd Fellows one of three favourite images from the GAME 2: Where was the Fish Market in 1868? Lodge established in Brighton?
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The game illustrates the evolution of the West Pier site starting in 1866 up to the future vision of the 172 metres high ‘i360’, or ‘Brighton Eye’, scheduled for completion in 2009.
Finally, Lucy offers to write a letter of thanks to the visitor for helping her to return home. She explains a choice of three letter headings she can use according to the visitors preference. The visitors’ choice of heading GAME 3: Who owned Skylark No.1? GAME 4: Put the pictures in date order appears on the print out along with their name as logged in the system. In the third challenge Lucy asks for the name and video in which Lucy meets characters of the owner in the 1950’s of the boat Skylark from the era in question. Within this context No.1. High around the museum is a collection there are further learning opportunities of name plates, one of the most famous being beyond the permanent exhibition. that of the Skylark No.1. The owner’s name is clearly displayed on the board. The multiple Once the visitor has found the three missing choice answers offer names of other boat keys they will be able to complete the fi nal owners. If these are selected the boat’s name puzzle. This ‘drag and drop’ game requires is given and the visitor is obliged to try again the visitor to arrange each of the images until they get the right answer. found on the time keys in chronological order. This information will have been On completion of each of these games the gleaned from each of the ‘time key’ locations narrative continues with slide show images during the search of the exhibition. GAME 5: Choose your favourite letter heading
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Asset creation – using graphics, Letter from Lucy: fi sh market was in front of Large Arches where the video, audio and interactive games Fishing Museum is today. As a simple overview the underlying system Dear <
Do you remember we found the fi rst time key at the Isn’t it amazing how the West Pier has change since 1866 fi rst Oddfellow’s Lodge in 1822 the year it opened? when it opened. It was very interesting to know what the The fi sherman told me that the Oddfellow’s was West Pier looked like in the past because it doesn’t seem a friendly society, a self-help group that paid out to the same place now: it was destroyed in two violent injured fi shermen. It paid for funerals and supported storms and two planned arson attacks a few years ago. widows and children. It was one of the largest friendly societies in Britain throughout the 19th Thanks for coming to Brighton Fishing Museum and century. helping me. I hope to see you again someday. Time travel can be fun! Good bye. We also met fi shmongers at the fi sh market in 1868. They were so kind and gave me the second Best wishes, key. I want to thank you for letting me know the Lucy
The Fishing Museum has its own workshop
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The story in the Fishing Museum interactive System graphics are presented at a higher Underlying technology – bringing narrative is told using a rich mix of graphics, resolution of 1024 x 768 in millions of colours. the assets together video and onscreen games. Audio also plays an The software driving the experience is built important part in communicating the story. Games can be created using templates in the using open source technologies, the same The narrative script can be analysed and author ware or produced using third party technologies used to make much of the broken down into key media elements. software such as Adobe Flash. The system internet interactive. Thus it is as stable and Each element is created using a variety of provides templates for the creation of simple reliable as the hardware it is playing on will software and creative skill sets. The assembly touch screen or point and click games, which allow. In essence the software will not fail, of the elements into the system editor is can be used for visitors to identify items on but the hardware might. described in the following section. a screen image, such as places on a map or objects in a photograph or multiple choice A minimum of three personal computers Video and audio was recorded on PAL question and answer games (games 1, 2 & 3). form a local area network scalable up to any mini DV using a Sony VX1000 then edited A drag and drop game is also available for number as space or user needs may require. At in Adobe Premiere. 24-bit video is saved creating image sorting tasks (game 4). the centre of the network is a server running out as a Windows Media fi le at a screen Linux Red Hat Fedora Core 4, using Apache, resolution of 640x480 pixels, at a data rate The project represents a great opportunity MySQL and PHP to provide web type services of approximately 928kbps. Stereo 16-bit to re-use existing assets for a new to client machines. The client machines can audio was sampled at 44khz with a bit rate purpose. Images from previously unseen be confi gured as either registration or media of 1351kbps. Together this provides a good museum archives can be included into the clients. The client machines operate using quality image on a 17-inch screen (better story. Lumidium ‘DigiRostrum’ software Windows XP and display full screen media than most VHS) and CD quality audio. is an excellent resource for creating using Internet Explorer 6.x. If the interactive simple rostrum camera style moves over experience is required to run any application Important Note: In a public exhibition of this photographs and etchings. beyond the normal constraints of Internet kind where there is a strong use of audio Explorer such as video or Adobe Flash then it is advisable to add subtitles to support drivers and appropriate video and sound accessibility. card hardware for these applications need to
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be installed onto the media client machines. Registration machines are ‘thin client’ without the need to run audio or video, only the registration machine needs a keyboard. User interaction for the media clients can be via any standard user interface: mouse, tracker ball, touch screen, etc.
In the Fishing Museum personalisation is achieved by registering a user name with a ‘time key’ card available next to the registration screen. This card can also be thought of as a user identity card. The cards provided in the Fishing Museum employ RFid technology to communicate with the computer network, bar codes and other similar systems are equally viable. Visitors register a name using the keyboard provided with the registration machine. The name registered is stored on the server database and associated with the id card. From now on the system is able to track the user and deliver personalised content on demand to any machine on the network. The system provides a platform for the delivery of episodes of media combined with some unique interactive features. Interactive system ‘kick off/lock out’ functionality. Each ‘EPISODE’ is comprised of a variety of media assets
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Following registration user interactions are Finally when the user completes the fi nal Authoring and editing – a simple carried out on media client machines. challenge the system commands a printer way to manage content to produce a copy of the users’ chosen The editor starts by creating an episode. Media assets sitting within episodes are document with their name as recorded on These are soon compiled into a list of delivered according to user actions. Users the system. ‘Time Key’ identity cards are episodes. Episodes are created, moved identify themselves to the system and the returned to the registration desk, which is up and down in sequence, activated and system displays content according to their also the location of the printer. place in the narrative. After a user has watched a complete episode the system The interactive storytelling exhibition fed in to facilitate early user testing. User takes control stopping the user from any software is a bespoke package for testing is a crucial part of the production further interaction until a predefi ned time the express purpose of providing an workfl ow and the creation of simple has elapsed. The system provides screen interactive storytelling experience. draft content is a great benefi t to the instructions for the user making clear the The experience is assembled in production process. The template editor state of the system. If the user leaves the a complimentary intuitive template- is capable of creating a full interactive card during a lock out the system responds editing environment. System functionality experience with any media content, thus accordingly giving the instruction to is implemented by the system on graphics or text can take the place of remove the card. If the card remains, the instruction given from inside the editing video at early stages to experiment with system displays a generic graphic telling environment. An averagely computer story fl ow, game play and the fi nal user a user to remove the card left in the reader literate person can become a skilled journey. and insert another card. Likewise if a user editor following a one-hour session with returns to the system before the given time a qualifi ed trainer. The editing environment runs within has elapsed the system displays a graphic MS Internet Explorer, so content and explaining that they must take the card Media assets can be loaded into the structure of a narrative is easily arranged, away and return after they have completed template editor as they become available. compiled, published and made available their research. Draft images and storyboard work can be for fully functional user testing.
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List of episodes displayed in the editor Episode 03 made up of 4 media elements displayed Episode 01 ‘Kick off’ graphic: ‘Find the Year the Odd in the editor Fellows Lodge opened’ deactivated, saved as draft or deleted within element identifi ed as a ‘kick off’ graphic will one window. cause the system to ‘kick off’ and ‘lock out’ an interactive end user. This functionality Media elements, video, graphics and games is implemented in the editor by the simple are arranged inside an episode where they ticking of a box. can be moved up and down in sequence, activated and deactivated or deleted within Games can be created and edited within the one window. template editor. A game can be created by uploading a background image and defi ning All media including graphics are up uploaded areas for hot spot screen interaction. to the server from the editor. Existing media Previous games can be repurposed or new appears in the editor window where they gaming parameters defi ned within the can be checked, removed or replaced. An EPISODE 4 ‘Skylark No1’ game editor. Alternatively games can be created
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outside the editor in any proprietary and offer guidance. The EGYPT installation offer solutions to these problems: microwave, software that will run in Internet Explorer in Torquay Museum employs the museum electrostatic, phase interference or more such as Adobe Flash. Important Note: Other reception desk to promote the experience and conventional FocusPoint 2019 speaker proprietary software will require system assist with registration. The Fishing Museum technology with a large Perspex dome to drivers and licence agreement. however is unsupervised. Visitors enter the focus sound. All offer excellent directional museum and are free to explore, there is characteristics whilst the later offers the best Because the system uses internet technology, nobody on hand to provide help or assistance. audio fi delity. The large Perspex focussing multiple users can simultaneously edit As a research project it has been benefi cial dome was chosen for this installation, which templates from remote locations. Indeed if for researchers to be at the venue to provide makes the speaker obtrusive. The Museum a system is up and running live in the museum assistance and record user experience. trustees have spent many years building environment, it is possible to edit material from an ambience, look and feel to the Fishing a remote location as may be required. Establishing a computer network of three Museum of which they are rightly proud. machines is easy. In other installations there A bespoke housing was created to house the Important Note: The underlying software have been 10 media client machines. The installation of computers, touch screens and template is fl exible to the point that it may system is not constrained by the number of a large overhead speaker. be used to create an entire interactive story clients it can serve. A wireless system has experience with still graphic images alone, not been tried to date. Issues of security and Ambient light may be an issue with television without the need even for audio. reliable data transfer may introduce a level screens in other locations. Some monitors of risk beyond the immediate benefi ts of can cope better than others in high levels of Implementation in the museum wireless implementation. ambient light. Always check the specifi cation environment of a monitor to make sure it is appropriate The installation and commissioning of the The use of audio in any museum space for the location in which it will be placed system into the fabric of the Fishing Museum always offers a challenge, with high levels of before committing to purchase. presented a series of unique challenges. ambient noise or sound from an installation Settings within the Windows environment The user experience is made easier with causing nuisance or spoiling the ambience are also very important. Screen savers a member of staff on hand to answer questions of a space. Directional speaker technologies need to cue passers by to ‘touch the screen
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to activate’ and malicious users must be experiment with draft interactive content and Benefi ts for the host: prevented from ‘hacking’ into the system. enjoy a manageable iterative development. – Reliability: proven usability and durability A keyboard is best presented with certain – Engagement of public with local keys not available or disabled. Windows The benefi ts of an Interactive collections ‘Sticky keys’ and access to the accessibility Storytelling Exhibition – Multimedia: video, audio, text, graphics, features option should be disabled by An Interactive Storytelling Exhibition offers photographs, animation, interactive games forbidding use of the shift key. If possible it visitors the opportunity to engage with real etc. is advised to only allow use of letter keys, world objects and locations by becoming – Guidance: offers help and research tips on space bar and the caps lock keys only. personally involved in a compelling story screen enjoyed at a pace dictated by the visitor. – Scalable: from three machines to a large Future developments – working network across sites in parallel Benefi ts for the visitor: – Feedback: user progress is tracked and The system allows for continuous – Highly intuitive: suitable for any age group recorded at every stage development of content without taking the – Individual focus: capable of delivering – Ease of use: complete systems can be experience ‘offl ine’. Work will continue at personalised content dependent on age, researched and content created locally the museum to improve the user experience interest, ethnicity, language etc. with minimal supervision and include more stories and learning – Guidance: facilitates easy learning of – Ready to go: simple software template information. The curator and other museum research skills including games exists ready for new trustees are keen to see the story developed – Flexibility: once-registered users can content to include more stories from the fi shing complete the game as a continuous narrative – Identity: include and promote host brand quarter through the ages. This will primarily experience, or on return visits picking up involve further work on the character exactly where they left off, after minutes days development and be more inclusive of ‘real or weeks (even following a power cut) life’ authentic characters from the present – Feedback: summing up the journey so far day and through history. Whilst the hardware and how far to go to the end, how long it is installed in the museum it is possible to will take etc.
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24 Fishermen on Brighton Beach in 1871 by Edward Fox Interactive Storytelling Exhibition
The Interactive Storytelling Exhibition Project team
The Interactive Storytelling Exhibition Cast: Lucy and Vanessa McGeachin, Richard concept was fi rst commissioned within the Griffi ths British Broadcasting Corporation, For Brighton Fishing Museum: Learning and Interactive Television. Curator: Andy Durr Devised and Produced by Michael Danks Archive photographs and images with Senior Producer: John Kent permission from Brighton Fishing Museum, Executive Producer: Marc Goodchild Brighton and Hove Libraries. Software and system architecture created by Desktop Display Limited
Copyright © Michael Danks The Brighton Fishing Museum Interactive & The Interactive Institute AB, 2007 Storytelling Exhibition Project Commissioned by the University of Brighton Publisher: The Interactive Institute AB, School of Computing Mathematics and Stockholm, Sweden Editor: Halina Gottlieb Information Sciences. Graphical design: Rafał Sosin Production Supervision Michael Danks Print: Drukania SKLENIARZ, Krakow, Poland Scriptwriting, photography, editing: Ali Dayekh ISBN 978-91-85960-03-3 Scriptwriting, games development and With support by the European Commission graphics: Ellen Kim and Eun Joo Lee under the Community’s Sixth Framework Music: Dave Rothwell Programme, contract no. IST-2002-507382.
25 By devising a virtual adventure story with accessible booklets highlight functional information covering characters, the Brighton Fishing Museum presents the design, development and implementation an enticing example of how to engage young visitors of ideas and their solutions, and give thoughtful using an interactive storytelling exhibition. suggestions for alternative applications within the cultural heritage sector. The KNOWHOW The visitors’ personalised journey takes them through booklets aim to support people working in the every corner of the museum, encouraging them area of museums, heritage sites and monuments. to explore key points in local history. The intuitive The information covered within the booklets games within the interactive storytelling exhibition benefi ts managers, exhibition producers/curators, lead the visitors to hunt for information provided pedagogues and professionals working with in the various museum exhibits, bringing to life the digital restoration, as well as those working with traditional displays in their environment. communication and audiences. These booklets cover projects developed by the partners of EPOCH, and are divided into the following The KNOWHOW booklets are an inspirational categories: MUSEUMS, HERITAGE SITES and series cataloguing existing examples of a variety MONUMENTS. of projects which use ICT for the recording, display and interpretation of cultural heritage. These www.tii.se/knowhow