Comunicar 39-ingles - Revista Comunicar

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144Comunicar, 39, XX, 2012Figure 5. Michael Matea’s schema of a new dramatic theoryfor interactive systems.the game. Mateas (Wardrip-Fruin & Harrigan, 2004:22) continues describing the function of the interactivedrama in the game in the following manner «But thisability of taking action is not completely free; it is limitedfrom behind by the material resources…». Theinteractive multimedia expressions, as well as the spatialand temporal variables, become the constrictionsthat the game offers, «…and from over it by the formalauthorial cause originated at the level of the plot». Theauthor directs the theme of the game or interactivenarrative and the main actions of the plot. The Englishterm «affordance», which, when applied to hypermediacan be translated as the availability of interactive multimediaexpressions, is also a constriction to the interactions.Nevertheless, this constriction can be made upthrough the interface design, within a broad variety ofhypermedia expressions. When the interaction is attractedby some expressions and developments of the dramaticplot, it would generate a more engaging interaction.The fact that the forms of interaction can be developedthrough some or all perceptual senses of the player,also means a level of constriction or freedomdepending upon the adaptation of the technologicaltools of the game to the biological senses of the player.This happened for instance with the original Eyetoy,from Sony, most recently with the Wii, from Nintendo,or lately with the Kinect, from Xbox 360.3. ResultsThe original interdisciplinary integration of the previousnew models, specially of the previously presentedinteractive communication and narrative models, lead tothe creation of integrated and innovative models foranalyzing hypermedia interfaces, which have been provedduring the research experiences. In the most recentexperience in Peru and Bolivia, a remarkable total of 45videos were produced in 4 one-week workshops. Theywere created through the interaction of both first timeand initiated audiovisual and multimedia practitioners.A remarkable experience was to observehow the interactive communication system andthe new technologies helped the developmentof media literacy in multiple contexts. Moreover,using an interactive educational model servednot only to produce great quantities of videos ina short period of time, thereby letting studentslearn through completing the whole productionprocess, but also contributed to the quality of thevideo narratives and techniques: 65% of thevideos produced during the workshops hadsemi-professional quality. Some of the videoswere even presented later on in video festivals oreven projected on a Bolivian national TV, like the onestitled «Watxia Ritual» or «Paqarina», which are still onlineon the channel www.youtube.com/ multicul tu ral -videos.3.1. Validity and functionality of the resulted modelsThe validity and functionality of the followingmodels of analysis of the hypermedia interface hasbeen proven in several previous scientific researchessuch as on «Smoke & Mirrors», developed by SheldonBrown, ex-director of the Center for Research inComputing and the Arts from the University of Cali -fornia San Diego. Moreover, these models of analysiswere corrected and they were used as descriptors withinthe design of an experiment consisting of theobservation of the most attractive and interactedexpressive, narrative, emotional and value characteristicsof the interface for the teenagers. The modelswere applied also to the analysis of successful videogames with some didactic contents, such as Antigravfrom Sony, or Sims2 from Electronic Arts. The effectiveuse of the model as an analytical qualitative tool,served to find which immersive combination ofexpressions and narrative interactive forms served betterfor the transmission of cultural and educationalvalues to the youth (Mora, 2009).Moreover, these proven models are presented asconclusive tools, since their application has been veryuseful in the design of video game and multimedia prototypes.One of them was the Exchanging CulturesEC Game, an educational video game awarded aprize by USC´s Annenberg School of Communi -cation, which was embedded on the MMOG SecondLife. This game consisted of an interactive museum,located within SL, where the players were able tolearn about different countries and cultures throughthe exchange of original art, food recipes, architectures,customs and other cultural items. Another recent© ISSN: 1134-3478 • e-ISSN: 1988-3293• Pages 139-149
145application of the models was during the interactivemedia workshops developed in Peru and Bolivia.3.2. Models integrating the interactive communicationand narrativesThe next, Figure 6, summarizes in detail the communicativeelements that intervene during the interactionwith the interface, where the functional roles arechanged from sender to receptor, authorreaderor professor-student, and vice versa.These are the interactive dimensions wefocused on and observed during the re -search in order to discover which interactivemedia expressions improved the immersionor the identification in educational interactivemedia products. The followingFigures 6 and 7 take into account the researchof Dr. Isidro Moreno (2003: 110-114)and Mateas (Wardrip-Fruin & Harrigan,2004: 22) and they are integrated and up -dated by Dr. Mora and his research experiencesfrom 2003 until 2010, mentioned inthe previous epigraphs.In this schema we can see the elementsthat compound the hypermedia interface: expressions,narrative forms, emotions and values; these configurethe information transferred during the communicationhuman-interface. As Moreno-Muñoz (2000: 57)explains «the human beings as information processorsexperience a series of levels in the information process».The symbol on the top right represents anothersimilar hypermedia communication system, from otherreader-author, who generates another communicationsystem human-interface-human when connected onlinewith another player.The following, Figure 7synthesizes the interactive elementsand the dramatic narra -tive processes generated by theplayer, reader-author, throughthe interface. It displays thecommunicative moments whenthe change of roles betweensender and receptor happens, aswell as the hypermedia narrative.In a simplified way, thisschema describes the momentswhen the interface communi -cates expressions of the differentnarrative forms. It also illustratesthe dramatic narrative structureand how it is organized in the communication betweenthe reader-author and the hypermedia interface.Figure 8 summarizes the generation and process of thehypermedia narrative at the moment of the interaction.Figure 6. Interactions on different levels between the reader-author, or user,and the hypermedia interface. (Resource: self-creation).3.3. Model of analysis of hypermedia interfacesThe following model of analysis, developed by theauthor of the present paper, is the result of the integrationof several personal and other previously mentionedresearch projects. It serves to focus on the hypermediaelements that can be managed during the designand production of immersive and interactive educationalprojects. The goal of this classification of thehyper media elements was to create different models ofdescriptive analysis which could be applied to theanalysis of any hypermedia. The model is focused ondescribing in detail the expressive and narrative characteristicsthat can be present through the interface.That way it is possible to analyze what types of inter -Figure 7. This flow is how the interactive elements and the dramatic narrative processes aregenerated by the student-player or reader-author.Comunicar, 39, XX, 2012© ISSN: 1134-3478 • e-ISSN: 1988-3293• Pages 139-149
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