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題名 以體感方式參與敘事的3D互動敘事系統
Participating in Narratives with Motion-sensing Technologies in a 3D Interactive Storytelling System作者 楊奇珍
Yang, Chi Chen貢獻者 李蔡彥
Li, Tsai Yen
楊奇珍
Yang, Chi Chen關鍵詞 互動數位敘事
情境感知
人機介面
Interactive Storytelling
Context-Aware
Human-Computer Interaction日期 2015 上傳時間 2-十一月-2015 14:49:50 (UTC+8) 摘要 在目前大部分的互動數位敘事(Interactive Digital Storytelling)研究中，使用者都是以滑鼠或鍵盤作為輸入的選擇方式來進行互動，鮮少可以讓使用者以參與表演的方式互動。在本研究中，我們希望透過體感偵測系統輸入使用者的手部姿勢，同時以引導的方式來給予使用者選擇故事腳本演出的路線，並記錄使用者所有的演出過程。本研究目的在於設計出一個適合互動敘事的故事腳本，使用者以Leap Motion、Oculus Rift等輸出入裝置來參與演出，系統會提供引導式人機介面讓使用者能夠參考圖示選擇想呈現的表演。使用者是以第一人稱的視角來參與互動敘事的演出，透過各種手部動作的輸入，故事的發展路線也會有所不同。在參與過程中，我們錄下使用者在表演過程中的對白語音資訊，演出結束後提供使用者回顧整體故事的演出過程，以創造二次創作的價值。我們的系統提供使用者更多表演的空間，增加使用者對於故事的沉浸感，並能透過不同的角度觀看故事內容，提高故事的趣味性。透過設計實驗來驗證系統價值，顯示本研究的系統是有符合故事性、互動性、想像性與沉浸性的，使用者對於我們系統所創作出來的作品感到非常的有趣，並且會嘗試體驗不同的故事劇情，證實了我們的系統是有重玩價值的。
At present, in most of the interactive digital storytelling studies, users use the mouse or the keyboard as an input device to interact with the story. The current systems rarely allows users to participate in the interactive performance. In our study, we use a somatosensory detection system to detect the user`s hand gestures, while guiding the user to select the desired choice of story line. We also hope that the user’s performance in the process can be recorded. The purpose of this study is to design a suitable interactive storytelling storyboard and allow a user to use Leap Motion, Oculus Rift, Microphone, etc. as I/O devices to participate in the performance of a 3D interactive story. The system also provides guidance in the human-machine interface such that the users can use gesture icons as reference to select the desired story path.The user participates in the interactive performance in a first-person perspective. By performing a variety of hand motions, the development of story line will also be different. At the same time, we record the user`s voice to provide the users a review of the overall story. Our system provides the users more performance space and enhances immersion of the users when the story is played. Being be able to view the story through different perspectives also has made the story more interesting.We have conducted an experiment to verify the value of the system. The results of this study showed that 3D interactive stories produced by our system are interactive, imaginative and immersive. Users are much interested in our work and try to experience different story lines, which confirm the replay value of our system.參考文獻 [1] “Leap Motion | Mac & PC Motion Controller for Games, Design, Virtual Reality & More.” [Online]. Available: https://www.leapmotion.com/. [Accessed: 14-Sep-2013].[2] 吳蕙盈, “打破第四道牆： 以敘事理論為基礎之個人化3D互動敘事創作系統,” 國立政治大學, 2012.[3] F. Kistler and E. André, “User-defined body gestures for an interactive storytelling scenario,” in Human-Computer Interaction--INTERACT 2013, Springer, 2013, pp. 264–281.[4] M. O. Cavazza, F. Charles, and S. J. Mead, “Character-based interactive storytelling,” IEEE Intell. Syst., 2002.[5] W. Swartout, R. Hill, J. Gratch, W. L. Johnson, C. Kyriakakis, C. LaBore, R. Lindheim, S. Marsella, D. Miraglia, and B. Moore, “Toward the holodeck: Integrating graphics, sound, character and story,” in Proc. Autonomous Agents 2001 Conf., ACM Press, 2006.[6] M. Cavazza, F. Charles, and S. J. Mead, “AI-based animation for interactive storytelling,” in Computer Animation, 2001. The Fourteenth Conference on Computer Animation. Proceedings, 2001, pp. 113–120.[7] I. Machado, A. Paiva, and P. Brna, “Real characters in virtual stories,” in Virtual Storytelling Using Virtual Reality Technologies for Storytelling, Springer, 2001, pp. 127–134.[8] N. M. Sgouros, G. Papakonstantinou, and P. Tsanakas, “A framework for plot control in interactive story systems,” in AAAI/IAAI, Vol. 1, 1996, pp. 162–167.[9] D. Grasbon and N. Braun, “A morphological approach to interactive storytelling,” in Proc. CAST01, Living in Mixed Realities. Special issue of Netzspannung. org/journal, the Magazine for Media Production and Inter-media Research, 2001, pp. 337–340.[10] V. Propp, Morphology of the Folktale, vol. 9. University of Texas Press, 1958.[11] R. McKee, Story: style, structure, substance, and the principles of screenwriting. Harper Collins, 1997.[12] M.-L. Ryan, Avatars of story. U of Minnesota Press, 2006.[13] P. Gervás, B. Díaz-Agudo, F. Peinado, and R. Hervás, “Story plot generation based on CBR,” in Knowledge-Based Systems, vol. 18, no. 4, Elsevier, 2005, pp. 235–242.[14] M. O. Riedl, “Incorporating Authorial Intent into Generative Narrative Systems.,” in AAAI Spring Symposium: Intelligent Narrative Technologies II, 2009, pp. 91–94.[15] U. Spierling, S. A. Weiß, and W. Müller, “Towards accessible authoring tools for interactive storytelling,” in Technologies for Interactive Digital Storytelling and Entertainment, Springer, 2006, pp. 169–180.[16] G. Burdea and P. Coiffet, “Virtual reality technology,” in Presence: Teleoperators and virtual environments, vol. 12, no. 6, MIT Press, 2003, pp. 663–664.[17] M. Csikszentmihalyi, Beyond boredom and anxiety. Jossey-Bass, 2000.[18] T. R. Trigo and S. R. M. Pellegrino, “An analysis of features for hand-gesture classification,” in 17th International Conference on Systems, Signals and Image Processing (IWSSIP 2010), 2010, pp. 412–415.[19] T. B. Dinh, V. B. Dang, D. Duong, T. T. Nguyen, D.-D. Le, and others, “Hand gesture classification using boosted cascade of classifiers,” in Research, Innovation and Vision for the Future, 2006 International Conference on, 2006, pp. 139–144.[20] “Unity - Game Engine.” [Online]. Available: https://unity3d.com/. [Accessed: 14-Sep-2013]. 描述 碩士
國立政治大學
資訊科學學系
101753005資料來源 http://thesis.lib.nccu.edu.tw/record/#G0101753005 資料類型 thesis dc.contributor.advisor 李蔡彥 zh_TW dc.contributor.advisor Li, Tsai Yen en_US dc.contributor.author (作者) 楊奇珍 zh_TW dc.contributor.author (作者) Yang, Chi Chen en_US dc.creator (作者) 楊奇珍 zh_TW dc.creator (作者) Yang, Chi Chen en_US dc.date (日期) 2015 en_US dc.date.accessioned 2-十一月-2015 14:49:50 (UTC+8) - dc.date.available 2-十一月-2015 14:49:50 (UTC+8) - dc.date.issued (上傳時間) 2-十一月-2015 14:49:50 (UTC+8) - dc.identifier (其他 識別碼) G0101753005 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/79205 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 資訊科學學系 zh_TW dc.description (描述) 101753005 zh_TW dc.description.abstract (摘要) 在目前大部分的互動數位敘事(Interactive Digital Storytelling)研究中，使用者都是以滑鼠或鍵盤作為輸入的選擇方式來進行互動，鮮少可以讓使用者以參與表演的方式互動。在本研究中，我們希望透過體感偵測系統輸入使用者的手部姿勢，同時以引導的方式來給予使用者選擇故事腳本演出的路線，並記錄使用者所有的演出過程。本研究目的在於設計出一個適合互動敘事的故事腳本，使用者以Leap Motion、Oculus Rift等輸出入裝置來參與演出，系統會提供引導式人機介面讓使用者能夠參考圖示選擇想呈現的表演。使用者是以第一人稱的視角來參與互動敘事的演出，透過各種手部動作的輸入，故事的發展路線也會有所不同。在參與過程中，我們錄下使用者在表演過程中的對白語音資訊，演出結束後提供使用者回顧整體故事的演出過程，以創造二次創作的價值。我們的系統提供使用者更多表演的空間，增加使用者對於故事的沉浸感，並能透過不同的角度觀看故事內容，提高故事的趣味性。透過設計實驗來驗證系統價值，顯示本研究的系統是有符合故事性、互動性、想像性與沉浸性的，使用者對於我們系統所創作出來的作品感到非常的有趣，並且會嘗試體驗不同的故事劇情，證實了我們的系統是有重玩價值的。 zh_TW dc.description.abstract (摘要) At present, in most of the interactive digital storytelling studies, users use the mouse or the keyboard as an input device to interact with the story. The current systems rarely allows users to participate in the interactive performance. In our study, we use a somatosensory detection system to detect the user`s hand gestures, while guiding the user to select the desired choice of story line. We also hope that the user’s performance in the process can be recorded. The purpose of this study is to design a suitable interactive storytelling storyboard and allow a user to use Leap Motion, Oculus Rift, Microphone, etc. as I/O devices to participate in the performance of a 3D interactive story. The system also provides guidance in the human-machine interface such that the users can use gesture icons as reference to select the desired story path.The user participates in the interactive performance in a first-person perspective. By performing a variety of hand motions, the development of story line will also be different. At the same time, we record the user`s voice to provide the users a review of the overall story. Our system provides the users more performance space and enhances immersion of the users when the story is played. Being be able to view the story through different perspectives also has made the story more interesting.We have conducted an experiment to verify the value of the system. The results of this study showed that 3D interactive stories produced by our system are interactive, imaginative and immersive. Users are much interested in our work and try to experience different story lines, which confirm the replay value of our system. en_US dc.description.tableofcontents 第1章 導論 11.1 研究動機 11.1.1 互動表演模式 21.1.2 不同視角的拍攝手法 31.1.3 互動數位敘事的敘事導向 51.1.4 二次創作的理念 51.2 研究目標 61.2.1 設計故事腳本格式 71.2.2 定義使用者手勢集 81.2.3 設計3D互動數位敘事的使用者介面 81.2.4 紀錄表演過程 81.3 論文貢獻 91.4 本論文的章節結構 10第2章 相關研究 112.1 互動數位敘事(Interactive Digital Storytelling) 112.2 互動設計(Interaction Design) 122.3 虛擬實境(Virtual Reality) 13第3章 手勢動作的分類 16第4章 系統架構與實作 224.1 作者創作階段(Authoring Process) 234.2 故事引擎(Story Engine) 244.3 語法引擎(Script Engine) 244.3.1 故事圖(Story Graph) 254.3.1.1 故事節點(Story Node) 254.3.1.2 故事鏈結(Story Link) 254.3.2 故事場景(Story Scene) 274.3.3 故事腳本(Story Scenario) 284.3.3.1 使用者攝影機控制 284.3.3.2 角色動畫控制 304.3.3.3 語音播放控制 314.3.3.4 錄音控制 324.3.3.5 字幕控制 324.4 使用者介面 334.4.1 電影黑邊與字幕 354.4.2 手勢圖示與提示倒數 364.4.3 針對不同熟練度族群的介面設計 374.4.4 配合Oculus Rift的介面設計 38第5章 實驗設計與結果分析 405.1 實驗目標與對象 405.2 實驗設計 415.3.1 故事設計 425.3.2 實驗程序 495.3.3 問卷設計 505.3.4 使用者記錄 525.3 實驗結果與分析 535.3.1 問卷分析 535.3.2 使用者紀錄分析 56第6章 結論與未來發展 596.1 研究結論 596.2 未來研究發展 606.2.1 系統操作改進 606.2.2 建立故事創作者的編輯介面 606.2.3 未來應用發展 61參考文獻 62附錄1 實驗的故事場景設計 64附錄2 實驗的故事圖設計 69附錄3 實驗的故事動畫腳本設計 71附錄4 實驗同意書 84附錄5 實驗流程說明 85附錄6 問卷調查 86 zh_TW dc.format.extent 2831769 bytes - dc.format.extent 2831769 bytes - dc.format.mimetype application/pdf - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0101753005 en_US dc.subject (關鍵詞) 互動數位敘事 zh_TW dc.subject (關鍵詞) 情境感知 zh_TW dc.subject (關鍵詞) 人機介面 zh_TW dc.subject (關鍵詞) Interactive Storytelling en_US dc.subject (關鍵詞) Context-Aware en_US dc.subject (關鍵詞) Human-Computer Interaction en_US dc.title (題名) 以體感方式參與敘事的3D互動敘事系統 zh_TW dc.title (題名) Participating in Narratives with Motion-sensing Technologies in a 3D Interactive Storytelling System en_US dc.type (資料類型) thesis en dc.relation.reference (參考文獻) [1] “Leap Motion | Mac & PC Motion Controller for Games, Design, Virtual Reality & More.” [Online]. Available: https://www.leapmotion.com/. [Accessed: 14-Sep-2013].[2] 吳蕙盈, “打破第四道牆： 以敘事理論為基礎之個人化3D互動敘事創作系統,” 國立政治大學, 2012.[3] F. Kistler and E. André, “User-defined body gestures for an interactive storytelling scenario,” in Human-Computer Interaction--INTERACT 2013, Springer, 2013, pp. 264–281.[4] M. O. Cavazza, F. Charles, and S. J. Mead, “Character-based interactive storytelling,” IEEE Intell. Syst., 2002.[5] W. Swartout, R. Hill, J. Gratch, W. L. Johnson, C. Kyriakakis, C. LaBore, R. Lindheim, S. Marsella, D. Miraglia, and B. Moore, “Toward the holodeck: Integrating graphics, sound, character and story,” in Proc. Autonomous Agents 2001 Conf., ACM Press, 2006.[6] M. Cavazza, F. Charles, and S. J. Mead, “AI-based animation for interactive storytelling,” in Computer Animation, 2001. The Fourteenth Conference on Computer Animation. Proceedings, 2001, pp. 113–120.[7] I. Machado, A. Paiva, and P. Brna, “Real characters in virtual stories,” in Virtual Storytelling Using Virtual Reality Technologies for Storytelling, Springer, 2001, pp. 127–134.[8] N. M. Sgouros, G. Papakonstantinou, and P. Tsanakas, “A framework for plot control in interactive story systems,” in AAAI/IAAI, Vol. 1, 1996, pp. 162–167.[9] D. Grasbon and N. Braun, “A morphological approach to interactive storytelling,” in Proc. CAST01, Living in Mixed Realities. Special issue of Netzspannung. org/journal, the Magazine for Media Production and Inter-media Research, 2001, pp. 337–340.[10] V. Propp, Morphology of the Folktale, vol. 9. University of Texas Press, 1958.[11] R. McKee, Story: style, structure, substance, and the principles of screenwriting. Harper Collins, 1997.[12] M.-L. Ryan, Avatars of story. U of Minnesota Press, 2006.[13] P. Gervás, B. Díaz-Agudo, F. Peinado, and R. Hervás, “Story plot generation based on CBR,” in Knowledge-Based Systems, vol. 18, no. 4, Elsevier, 2005, pp. 235–242.[14] M. O. Riedl, “Incorporating Authorial Intent into Generative Narrative Systems.,” in AAAI Spring Symposium: Intelligent Narrative Technologies II, 2009, pp. 91–94.[15] U. Spierling, S. A. Weiß, and W. Müller, “Towards accessible authoring tools for interactive storytelling,” in Technologies for Interactive Digital Storytelling and Entertainment, Springer, 2006, pp. 169–180.[16] G. Burdea and P. Coiffet, “Virtual reality technology,” in Presence: Teleoperators and virtual environments, vol. 12, no. 6, MIT Press, 2003, pp. 663–664.[17] M. Csikszentmihalyi, Beyond boredom and anxiety. Jossey-Bass, 2000.[18] T. R. Trigo and S. R. M. Pellegrino, “An analysis of features for hand-gesture classification,” in 17th International Conference on Systems, Signals and Image Processing (IWSSIP 2010), 2010, pp. 412–415.[19] T. B. Dinh, V. B. Dang, D. Duong, T. T. Nguyen, D.-D. Le, and others, “Hand gesture classification using boosted cascade of classifiers,” in Research, Innovation and Vision for the Future, 2006 International Conference on, 2006, pp. 139–144.[20] “Unity - Game Engine.” [Online]. Available: https://unity3d.com/. [Accessed: 14-Sep-2013]. zh_TW
