Interactive Digital Narratives as Complex Expressive Means

May combine two claims.

Studies on the multimodal aspects of video games and on how these aspects impact the expressive functions of digital games are generally scarce and mostly resort to theories of multimodality borrowed from distantly related disciplines such as film studies.

“However, as reported by Dunne (2014), Zagalo (2019) and, with a different terminology, Backe (2020), studies on the multimodal aspects of video games and on how these aspects impact the expressive functions of digital games are generally scarce and mostly resorting to theories of multimodality borrowed from distantly related disciplines, such as film studies (cf.e.g.Burn, 2016).”

• cites Dunne (2014) sourceNot checked — no full text of the source
• cites Zagalo (2019) sourcePartly supported

  Split into 2 atoms — 0 confirmed, 1 partially supported, 0 disputed, 0 misattributed, 1 unverifiable. Expand the claim to see per-atom verdicts.

  Experimental — accuracy not yet measured
• cites Backe (2020)Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

In that situation, one would expect the player to feel constrained by the game mechanics, but the exact opposite occurs instead.

“In this situation, Chang maintains, one would expect the player to feel constrained by the game mechanics, but the exact opposite occurs instead.”

• cites Cheng, 2007 sourceSupported

Classified as probably not a substantial claim.

The limitations imposed upon the player are not due to any arbitrary reason of game mechanics, but arise from a situation that makes logical sense in the game world.

“The scholar justifies it saying that “this occurs because the limitations imposed upon the player are not due to any arbitrary reason of game mechanics, but arises [sic] from a situation that makes logical sense in the game world” (Cheng, 2007).”

• cites Cheng, 2007 sourceSupported

Classified as probably not a substantial claim. May combine two claims.

Video games are complex audio-visual objects that are variable and infinite, because interacting with them can always yield a slightly different "product."

“In a similar fashion, Zagalo, (2019) talks of video games as complex audio-visual objects that are variable and infinite, for it is always possible to obtain a slightly different “product” (Koenitz, 2015) by interacting with them.”

• cites Zagalo, (2019) sourcePartly supported

  The Conclusions describe digital games as interactive audiovisual experiences, and Games and Social Learning says players can choose and change stories. The paper does not say that games are infinite or that interacting with them always yields a different product; its example of Life is Strange says players cannot change most of its outcomes. Page numbers are unavailable in our copy. (LLM, conf=0.85)

  Experimental — accuracy not yet measured
• cites Koenitz, 2015 sourceNot checked — no full text of the source

Classified as probably not a substantial claim.

In a scene in King Kong in which the player character is tied at a stake, the interaction afforded to the player is limited to a single button instead of the usual ten-twelve.

“Cheng, (2007) provides an example of this, found in the game King Kong (Ubisoft Montpellier, 2005): in a scene in which the player character is tied at a stake, the interaction afforded to the player is limited to a single button instead of the usual ten-twelve.”

• cites Cheng, 2007 sourcePartly supported

  In “Watch as Man, Play as Kong: King Kong” (page unavailable), Cheng describes Jack tied to a stake with only minor left-right movement and a limited ability to look around. The section supports the claim that interaction is restricted, but it does not say the player is limited to a single button or that the usual number is ten to twelve. (LLM, conf=0.88)

  Experimental — accuracy not yet measured

May combine two claims.

In the fish scene, interactors have the feeling of manipulating with the right analogue stick the head and eyes of the character, and with the left analogue stick its body, with a forward direction always oriented away from the interactor's body.

“Indeed, thanks to a third-person camera free to revolve around the characters' head, interactors have the feeling of manipulating with the right analogue stick of their controller the head and eyes of the character, and with the left analogue stick its body, with a forward direction always oriented away from the interactor's body (up).”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

An additional level of mnemonic recollection can be detected at the end of the fish scene in Detroit: Become Human if the fish is saved, when players with reasonable knowledge of science fiction tropes would be able to predict possible meanings of Connor's increasing software instability based on past experiences with genre-specific customs.

“An additional level of mnemonic recollection could also be detected at the end of the scene if the fish is saved, when players with a reasonable knowledge of science fiction tropes would be able to predict possible meanings of the increasing software instability of Connor on the basis of their past experiences with genre-specific customs.”

• AssumptionRests on an assumption: Detroit: Become Human is an interactive digital narrative.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The layers of information for Interactive Digital Narrative meaning are mostly shared by both narrative comprehension and ludonarrative understanding, with minor adjustments and specification.

“I believe that, in a similar fashion, the overall meaning of an IDN results from the synthesis of cues coming from a number of layers of information, which are mostly shared by both narrative comprehension and ludonarrative understanding, with minor adjustments and specification.”

Probably not a substantial claim: may not pass S2 (checkable).

The layers of information in Interactive Digital Narratives give rise to a whole of a higher order by mutually informing each other.

“Indeed, these layers of information are not only and not simply co-present in IDNs: they are interconnected, interoperating and interdependent, and they give rise to a whole of a higher order by mutually informing each other.”

Probably not a substantial claim: may not pass S2 (checkable).

A complex-systemic understanding of Interactive Digital Narratives may help advance knowledge of their representational capabilities and affordances, including representing multifaceted worlds and complex phenomena.

“Even though largely unexplored, this understanding may help advance our knowledge of the representational capabilities and affordances of Interactive Digital Narrarives, not least in representing multifaceted worlds and complex phenomena.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

Interactive Digital Narratives are powerful tools to represent complex topics and to address complexity as a societal challenge.

“Indeed, as this special issue is showing, IDNs are powerful tools to represent complex topics and to address complexity as a societal challenge.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Developers and designers model these layers to obtain specific expressive outcomes from the unified whole.

“Developers and designers model these layers to obtain specific expressive outcomes from the unified whole.”

Probably not a substantial claim: may not pass S3 (load-bearing).

The strategies for interpreting Interactive Digital Narratives have been thoroughly studied in recent years.

“The strategies for interpreting IDNs have been thoroughly studied in recent years, and several discussions developed around the effort to describe such functions (Karhulahti, 2012;Koenitz et al., 2015;Roth et al., 2018;Knoller, 2019).”

• cites Karhulahti, 2012 sourceNot checked — no full text of the source
• cites Koenitz et al., 2015Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Roth et al., 2018 sourceNot checked — no full text of the source

Classified as probably not a substantial claim.

Multimodal communication employs a system of semiotic modes in which each mode participates in the creation of the overall meaning.

“Drawing on this definition of multimodality, and on Ryan's claims regarding the collaboration of modes in digital media, it might be argued that multimodal communication-and therefore all communications, as per Adami, and also Kress, (2010)employs a system of semiotic modes, in which each mode participates in the creation of the overall meaningfoot_3 .”

• cites AdamiNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Kress, (2010)Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

A complex-systemic view can improve comprehension of the interpretative processes involved in the sense-making of Interactive Digital Narratives.

“A complex-systemic view can also improve our comprehension of the interpretative processes involved in the sense-making of Interactive Digital Narratives.”

Classified as probably not a substantial claim. May combine two claims.

The layers of information in Interactive Digital Narratives are interconnected, interoperating and interdependent.

“Indeed, these layers of information are not only and not simply co-present in IDNs: they are interconnected, interoperating and interdependent, and they give rise to a whole of a higher order by mutually informing each other.”

Probably not a substantial claim: may not pass S4 (based).

The participatory nature and interactivity of Interactive Digital Narratives produce significant differences in the hermeneutic mechanisms conducive to their understanding.

“Their participatory nature and the interactivity they afford produce significant differences in the hermeneutic mechanisms conducive to their understanding.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The overall meaning of an Interactive Digital Narrative results from the synthesis of cues coming from a number of layers of information.

“I believe that, in a similar fashion, the overall meaning of an IDN results from the synthesis of cues coming from a number of layers of information, which are mostly shared by both narrative comprehension and ludonarrative understanding, with minor adjustments and specification.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Sense-making in Interactive Digital Narratives works by synthesizing knowledge coming from a number of layers of information that are intercurrent, interdependent and interoperating.

“I contend that sense-making in such artifacts works by synthetizing the knowledge coming from a number of layers of information, which are intercurrent, interdependent and interoperating, and which concurrently participate in the creation of an overall meaning of a higher order.”

Probably not a substantial claim: may not pass S2 (checkable).

All the layers of information, presenting feedback loops and multiple mutual interactions, form a complex system that is presented to the player as a single and unified whole, called Interactive Digital Narrative.

“All these layers of information, presenting feedback loops and multiple mutual interactions, form a complex system that is presented to the player as a single and unified whole, which we call Interactive Digital Narrative (see Koenitz and Eladhari, 2021 for similar considerations).”

• cites Koenitz and Eladhari, 2021Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

A portion of Interactive Digital Narratives' capacity to represent complexity comes from the fact that they are complex in their very nature.

“I believe a portion of this capacity of representing complexity comes from the fact that they are complex in their very nature.”

Probably not a substantial claim: may not pass S4 (based).

Interactors of Interactive Digital Narratives necessarily base their hermeneutic processes mainly on what is conveyed in the artifact itself.

“Interactors of Interactive Digital Narratives necessarily base their hermeneutic processes mainly on what is conveyed in the artifact itself; yet the question of how meaning is expressed in (and sense-making is guided by) Interactive Digital Narratives remains significantly open.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Interactive Digital Narratives are different compared to more traditional and contemplative media.

“One of the main assumptions on which all these studies are based is that IDNs are different compared to more traditional and contemplative media.”

Classified as probably not a substantial claim. May combine two claims.

The automatic assumption of gravity is grounded in our experiential background as living beings on Earth, and informs our sensorimotor interaction with an artifact.

“This automatic assumption is grounded in our experiential background as living beings on Earth, and informs our sensorimotor interaction with an artifact:”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims.

Caracciolo's points suggest the existence of a further layer of information in IDNs' understanding, or at least part of it.

“but the points raised by Caracciolo suggest the existence of a further layer of information in IDNs' understanding, or at least part of it.”

May combine two claims.

Both the practical movement and the amplified translation are required to prompt the dynamic generation of the fictional worlds featured in IDNs.

“Both are required to prompt the dynamic generation of the fictional worlds featured in these artifacts.”

May combine two claims.

Players' motion in Super Mario Bros. is dictated not only by the multimodal system through which the gameworld is made perceptually available, but also in response to players' experiential knowledge of gravity.

“Players' motion in Super Mario Bros. is dictated not only by the multimodal system through which the gameworld is made perceptually available, but also in response to players' experiential knowledge of gravity:”

Classified as probably not a substantial claim.

Experiential traces are memories that guide one's evocation of past experiences.

“This mechanisms is carried through “experiential traces” (Zwaan, 2008), i.e., through memories that guide one's evocation of past experiences.”

• cites Zwaan, 2008 sourceNot checked — no full text of the source

Classified as probably not a substantial claim. May combine two claims.

Interactive Digital Narratives are based on an interactive engine that requires exchanges between the player(s) and the computing unit, where the computer actively responds to the player's physical inputs and the player actively responds to the computer's sensory inputs.

“Authors and designers do not create an artifact that exists per se in a unique, immutable form: on the contrary, IDNs are based on an interactive engine, which requires exchanges between the player(s) and the computing unit, where the computer actively responds to the physical inputs coming from the player and the player actively responds to the sensory inputs coming from the computer.”

May combine two claims.

Comprehension works thanks to a relational network between expressed information and background knowledge, and is therefore based on mnemonic recollection of the previously-built understanding of the world.

“Magliano and colleagues supports the idea that comprehension works thanks to a relational network between expressed information and background knowledge, and is therefore based on mnemonic recollection of the previously-built understanding of the world:”

• cites Magliano et al., 2019 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing).

The network is constructed through inferences that establish relationships between propositions (bridging inferences) and knowledge-based inferences that elaborate on the propositions.

““the network is constructed through inferences that establish relationships between propositions (i.e., bridging inferences) and knowledge-based inferences that elaborate on the propositions” (Magliano et al., 2019).”

• cites Magliano et al., 2019 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable).

Memory is an organization of prior experience into patterns of expectations for current experiences.

“as Herman argue, memory is a “organization of prior experience into patterns of expectations for current experiences” (Herman, 2002).”

• cites Herman, 2002Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

Multimodality is the basis on which sensorimotor experiences are offered by computer-mediated media.

“Laurel, too, argued that multimodality is the basis on which these sensorimotor experiences are offered by computer-mediated media (Laurel, 2013).”

• cites Laurel, 2013Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing).

Multimodality in Interactive Digital Narratives constitutes one of the layers of information of Interactive Digital Narratives.

“This constitutes one of the layers of information of IDNs.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Players expect gravity to be present in games like Super Mario, without any need for further justification.

“For instance, players need no explanation about gravity: they expect gravity to be present, i.e., they expect Super Mario (Nintendo, 1985) to fall back on the ground after a jump, without any need for further justification.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Sensorimotor interaction is necessary to extract a unilinear experience from the artifact, and it is therefore a defining feature of Interactive Digital Narratives and a further layer of information for Interactive Digital Narrative comprehension.

“This sort of sensorimotor interaction is necessary to extract a unilinear experience from the artifact, and it is therefore a defining feature of the objects of this analysis, and a further layer of information for IDN comprehension.”

Probably not a substantial claim: may not pass S2 (checkable).

The kinesthetic interaction becomes part of a unified aesthetic experience.

“Even more importantly, given that players are urged to act and feel through a mediated bodily presence, the kinesthetic interaction becomes part of a unified aesthetic experience (cf. on this Perron, 2009).”

• cites Perron, 2009Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing).

These inferences are often of the abductive kind.

“Together with Grishakova, I believe that these inferences are often times of the abductive kind (on the difference between inductive and abductive reasoning, cf.Grishakova, 2022).”

• cites Grishakova, 2022 sourceNot checked — no full text of the source

May combine two claims.

The complex multimodal system of IDNs is strictly linked to the sensorimotor experience provided by such artifacts, or at least to its comprehension.

“Given that “to perceive you must be in possession of sensorimotor bodily skill” (Nöe, 2004), the complex multimodal system of IDNs appears to be strictly linked to the sensorimotor experience provided by such artifacts, or at least to its comprehension.”

• cites Nöe, 2004Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

An Interactive Digital Narrative changes and evolves internally in response to intrasystemic dynamics, whereas in books these are extrasystemic and do not impact the objective shape of the artifact.

“An IDN changes and evolves internally in response to intrasystemic dynamics, whereas in books these are extrasystemic, and do not impact the objective shape of the artifact.”

Classified as probably not a substantial claim.

Interactivity enables video games and Interactive Digital Narratives to feature sensorimotor experiences.

“More relevantly to our discussion, interactivity is also what enables them to feature sensorimotor experiences.”

Probably not a substantial claim: may not pass S2 (checkable).

Multimodality in Interactive Digital Narratives is better conceived as a multimodal system in which each semiotic resource is in a complex relationship with the others.

“Therefore, if multimodality is the compresence of a number of semiotic modes of resources used for making meaning, multimodality in IDNs is better conceived as a multimodal system in which each semiotic resource is in a complex relationship with the others.”

May combine two claims.

The situation is justified by the narrative and by the sensorimotor experience elicited by the narrative, in a mechanic made narratively relevant through kinaesthesis.

“This means that the situation is justified by the narrative and, more importantly, by the sensorimotor experience elicited by the narrative, in a mechanic made narratively relevant through kinaesthesis: being the player character tied to a stake, players experience the bodily restraints through interactivity limitations.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

Background knowledge includes all kind of information not explicitly provided by the text, derived both by other texts (intertextual knowledge) or by general everyday (extra-textual) experience.

“as Beltrami highlights, background knowledge includes “all kind of information not explicitly provided by the text, derived both by other texts (intertextual knowledge) or by general everyday (extra-textual) experience” (Beltrami, 2021).”

• cites Beltrami, 2021Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims.

Narrative understanding can mediate between explicit propositional knowledge and experiential knowledge by acquaintance; this is the core of narrative logic, grounded in embodiment and experience.

“Walsh maintains that it “can mediate between explicit propositional knowledge, knowing that, and experiential knowledge by acquaintance, knowing of”: this is “the core of narrative logic, grounded as it must be in embodiment, in experience” (Walsh, 2018).”

• cites Walsh, 2018 sourceNot checked — no full text of the source

May combine two claims.

This understanding is based on previous real-world sensorimotor experiences, but also requires recollection and retrieval of memories of other instances of collision detection in other games.

“this understanding is based on previous real-world sensorimotor experiences, but, as Walsh (2018) suggests, it also requires recollection and retrieval of memories of other instances of collision detection in other games, to foresee what will happen after a collision.”

• cites Walsh, 2018 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing).

Readers respond to narrative on the basis of their experiential background.

“In this book, he states that “readers respond to narrative on the basis of their experiential background” (Caracciolo, 2014).”

• cites Caracciolo, 2014 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S4 (based).

There is a double sensorimotor involvement in IDNs: the practical hand or bodily movement of the interactor and the amplified translation of it in the fictional world.

“There is a double sensorimotor involvement in IDNs: the practical hand or bodily movement of the interactor and the amplified translation of it in the fictional world.”

May combine two claims.

The shape of the world inhabited by a subject is likely to impact on the subject's cognition, and therefore on their understanding of the world itself.

“This claim shows once more that the shape of the world inhabited by a subject is likely to impact on the subjects' cognition, and therefore on their understanding of the world itself.”

• cites Merleau-Ponty and Landes, 2012Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Polvinen, 2021 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Additional feedback loops are realized in the interplay of multimodal system, narrative, game mechanics, and sensorimotor experiences.

“Additional feedback loops, aptly made explicit in the reported example, are therefore realized in this interplay of multimodal system, narrative, game mechanics, and sensorimotor experiences.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

Because IDNs rely on sensorimotor experiences, they can adapt and respond in a coherent manner to interactors' inputs, which enables a deeper and more all-encompassing understanding of the subject matter.

“Because they rely on sensorimotor experiences, they can adapt and respond in a coherent manner to interactors' inputs, which enables a deeper and more all-encompassing understanding of the subject matter.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

IDNs offer sensorial experiences that are made available through motion, and they rely on mnemonic recollection of memory images to be understandable.

“They offer (2) sensorial experiences that are made available through motion, and they rely on (3) mnemonic recollection of memory images to be understandable.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Designers embed these layers more or less knowingly, integrating this complex system of layers of information into a single artifact, which, resulting in a unified product, is therefore of the complex kind.

“Designers embed them more or less knowingly, integrating this complex system of layers of information into a single artifact, which, resulting in a unified product, is therefore of the complex kind.”

Probably not a substantial claim: may not pass S4 (based).

IDNs are made perceivable through a multimodal system in which each semiotic resource is in a complex relationship with the others.

“We have seen that IDNs are made perceivable through a (1) multimodal system in which each semiotic resource is in a complex relationship with the others.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

One can understand only thanks to previous experience and/or background knowledge that the fish is going to die if left on the floor, or it is saved by putting it back in its tank, even if half empty.

“One can also understand only thanks to previous experience and/or background knowledge that the fish is going to die if left on the floor, or it is saved by putting it back in its tank, even if half empty.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

May combine two claims.

The recollection of these patterns can affect the interactors' understanding of the multimodal system and can elicit actions and therefore influence the sensorimotor experiences.

“As such, the recollection of this patterns can affect the interactors' understanding of the multimodal system and, as mentioned, can elicit actions and therefore influence the sensorimotor experiences.”

Probably not a substantial claim: may not pass S2 (checkable).

IDNs are complex because they exhibit strong interaction between components: the multimodal system, the sensorimotor experiences it requires and affords, and the mnemonic recollection it demands are inseparable from each other as they are mutually informing.

“• Strong interaction between components: an IDN multimodal system, the sensorimotor experiences it requires and affords, and the mnemonic recollection it demands are inseparable from each other as they are mutually informing.Without one of the three, the artifact as a whole would simply not work: it would either not be perceivable, not be instantiable, or not be understandable.”

May combine two claims.

Understanding IDNs as complex expressive means allows explaining their capacity to represent complex topics and to address complexity as a societal challenge by making it more accessible to a wider audience.

“Understanding IDNs as complex expressive means allows to explain their capacity to represent complex topics and to address complexity as a societal challenge, by making it more accessible to the wider audience (cf. on this Koenitz et al., 2021).”

• cites Koenitz et al., 2021Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• AssumptionRests on an assumption: Complexity constitutes a societal challenge.

Probably not a substantial claim: may not pass S2 (checkable).

It is possible to consider the mnemonic recollection of memory images (of experiences, previous knowledge, scripts, and schemata) as a third layer of information participating in the overall IDN comprehension.

“In the light of what expounded so far, it is therefore possible to consider the mnemonic recollection of memory images (of experiences, previous knowledge, scripts, and schemata) as a third layer of information participating in the overall IDN comprehension.”

May combine two claims.

Building on Grishakova and Poulaki's view of narrative comprehension as coming from the synthesis of different layers of information, three of these layers can be seen as present also in IDNs, interacting with each other and forming a complex system.

“Building on Grishakova and Poulaki's view of narrative comprehension as coming from the synthesis of different layers of information, I showed how we can see three of these layers as present also in IDNs, how they interact with each other and how they can therefore be conceived as forming a complex system.”

Probably not a substantial claim: may not pass S2 (checkable).

IDNs are complex because they exhibit emergence: the compresence of different layers of information, together with feedback loops, produces the IDN as a unified artifact which is more than the sum of its single layers taken separately.

“• Emergence: the compresence of different layers of information, together with feedback loops, produces the IDN as a unified artifact which is more than the sum of its single layers taken separately.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Thanks to mnemonic recollection, IDNs can rely on previous knowledge of complex topics to aid comprehension inside the artifacts themselves.

“Furthermore, thanks to mnemonic recollection, they can rely on previous knowledge of complex topics to aid their comprehension inside the artifacts themselves-even though this is not exclusive of IDNs.”

Classified as probably not a substantial claim. May combine two claims. The quote only partly states this claim.

IDNs are complex because they exhibit self-organization, although the status of self-organization is the most problematic in this theorization.

“However, given an undeniable coordination underpinning IDN design, I acknowledge that the status of self-organization is the most problematic in this theorization.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The interaction modes are fluid and require very little explanation because they are grounded in human experiential knowledge.

“In these cases, too, the interaction modes are fluid and require very little explanation because they are grounded in human experiential knowledge.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable).

One needs experience of fishes, of fish tanks, and of fish tanks made of glass, to understand that the fish fell off the aquarium which was somehow broken and is dying on the floor due to absence of water to breathe through.

“One needs experience of fishes, of fish tanks, and of fish tanks made of glass, to understand that the fish fell off the aquarium which was somehow broken and is dying on the floor due to absence of water to breathe through.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

May combine two claims.

IDNs afford replayability and present different outcomes from multiple interactions with the same artifact, which further enhances comprehension.

“This also permits IDNs to afford replayability, and to present different outcomes from multiple interactions with the same artifact, which further enhance comprehension-as discussed by Knoller, (2019).”

• cites Knoller, (2019) sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

In video games and IDNs, the external world and therefore the sensory inputs come from the multimodal system with which they have been built.

“In video games and IDNs, the external world and therefore the sensory inputs come from the multimodal system with which they have been built.”

May combine two claims.

IDNs can achieve societal impact not only through direct representations of complex subjects; they can be used to educate audiences in a systemic understanding of complexity in many diverse contexts even beyond the individual represented topic.

“IDNs can achieve their societal impact not only through direct representations of complex subjects: they can be used to educate audiences in a systemic understanding of complexity in many diverse contexts even beyond the individual represented topic.”

• AssumptionRests on an assumption: Complexity constitutes a societal challenge.

Probably not a substantial claim: may not pass S2 (checkable).

A script is a standardized generalized episode, or a behavioral pattern shared between sociocultural groups and evoked through more-or-less conscious mnemonic recollection.

“Schank and Abelson define script as a “standardized generalized episode” (Schank and Abelson, 1977), or, in other words, behavioral pattern shared between a sociocultural groups and evoked through more-or-less conscious mnemonic recollection.”

• cites Schank and Abelson, 1977Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

As they mutually inform each other, the three layers present relationships of the complex kind, such that each one is interdependent from, and intercurrent and interoperating with the others, to give rise to a whole of a higher order.

“As they mutually inform each other, these three layers present relationships of the complex kind, such that each one is interdependent from, and intercurrent and interoperating with the others, to give rise to a whole of a higher order.”

Probably not a substantial claim: may not pass S2 (checkable).

This explains why human comprehension of IDNs could be considered complex.

“This explains why human comprehension of IDNs could be considered complex, but in order to support the idea of IDNs as complex expressive means, I need to show how this complex understanding is exploited by game design practitioners to convey, through complex expressions, an emergent meaning.”

May combine two claims.

Comprehension of the multimodal system and of the sensorimotor experiences are partly based on mnemonic recollections, but at each moment these two other layers of information provide elements that feed the interactors' memory, which will be used for further understanding, cyclically.

“Comprehension of the multimodal system and of the sensorimotor experiences are therefore partly based on these mnemonic recollections, but at each moment these two other layers of information provide elements that feed the interactors' memory, which will be used for further understanding, and so on, cyclically.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

All layers of information in IDNs participate in an overall integrated understanding of the artifact and of its narrative and are not to be seen as separated from each other.

“All these layers of information participate in an overall integrated understanding of the artifact and of its narrative and are not to be seen as separated from each other.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

In order to understand this multimodal system, players of the game and interactors of the IDN need to trigger some sort of sensorimotor experience, otherwise the game will remain stuck forever right at the beginning of the level.

“But in order to understand this multimodal system, we as players of the game and interactors of the IDN need to perform, we need to trigger some sort of sensorimotor experience, otherwise the game will remain stuck forever right at the beginning of the level.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S4 (based).

To situate ourselves in the world, and therefore to understand it, we contextualize the situation in which we are presently involved through a comparison with previous experiences and with a background knowledge rooted in memory.

“In brief: to situate ourselves in the world, and therefore to understand it, we contextualize the situation in which we are presently involved through a comparison with previous experiences and with a background knowledge rooted in memory.”

May combine two claims.

The three layers of information discussed are in a position of interoperation, interdependence and interoccurrence, where each one informs and is informed by the others, in a loop.

“These examples show, once more, that the three layers of information here discussed are in a position of interoperation, interdependence and interoccurrence, where each one informs and is informed by the others, in a loop.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

The sensorimotor experiences are based on mnemonic recollection.

“In addition, the sensorimotor experiences are based on mnemonic recollection.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

May combine two claims.

Depending on the performance of either action, the game responds differently and therefore adapts the multimodal system accordingly.

“Depending on the performance of either action, the game responds differently and therefore adapts the multimodal system accordingly:”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Classified as probably not a substantial claim.

Interactors comprehend the fish scene, created through the multimodal system, due to previously-built knowledge and abductive inferential thinking.

“The reader might have already detected also the informativeness of the mnemonic recollection: interactors comprehend the fish scene, created through the multimodal system, due to previously-built knowledge and abductive inferential thinking.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S3 (load-bearing).

Designers and developers made use of this shared experiential knowledge to improve easiness of interaction and of comprehension of the scene.

“Designers and developers made use of this shared experiential knowledge to improve easiness of interaction and of comprehension of the scene.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable).

All of these contextualizations are grounded in interactors' background knowledge.

“All of these contextualizations are grounded in interactors' background knowledge.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

The very existence of the in-wall fish tank contextualizes the whole scene in an expensive apartment, a context further enhanced by the exotic fish species.

“The very existence of the in-wall fish tank contextualizes the whole scene in an expensive apartment, context that is further enhanced by the exotic fish speciesfoot_10 .”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable).

Schemata are data structures representing our knowledge about the world that enable us not only to understand, but to perceive, and eventually even to act.

“Rumelhart (Rumelhart, 1980) defines schemata as data structures representing our knowledge about the world that enable us not only to understand, but to perceive, and, eventually, even to act (cf. on this Douglas and Hargadon, 2000).”

• cites Rumelhart, 1980Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Douglas and Hargadon, 2000 sourceNot checked — no full text of the source

May combine two claims.

Scripts and schemata evoke contexts that elicit different experiences, and different kinesthetic experiences may prompt the recollection of and contextualization through different scripts and schemata.

“Specifically talking about video games, Ciccoricco similarly suggests that scripts and schemata evoke contexts that elicit different experiences, but also that different kinesthetic experiences may prompt the recollection of-and the contextualization through-different scripts and schemata (Ciccoricco, 2010).”

• cites Ciccoricco, 2010 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

The symbolic use of graphics and sounds, employed to signal the availability of an interaction, are taught to players and equally retrieved whenever necessary.

“The symbolic use of graphics and sounds, employed to signal the availability of an interaction, are taught to players and equally retrieved whenever necessary.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

The exemplary image and the text description of the fish brought up by Connor's computational unit need grounding in experience of encyclopedias and of multi-layered image composition.

“But even the exemplary image and the text description of the fish brought up by Connor's computational unit (Figure 2) needs grounding in experience of encyclopedias and of multi-layered image composition.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

This movement is very familiar and intuitive even for interactors with minimal experience.

“For as complicated as it might sound in writing, this movement is very familiar and intuitive even for interactors with minimal experience.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

We continuously build additional memories from the events that we live, from the multimodal system we perceive while accessing an IDN and from the interactions we experience.

“But at the same time we continuously build additional memories from the events that we live, from the multimodal system we perceive while accessing an IDN and from the interactions we experience.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Interactors of IDNs like Detroit: Become Human could get a grasp of the functioning of oppressive ideologies and regulations well beyond the fictional androids of the game.

“Interactors of IDNs like Detroit: Become Human could get a grasp of the functioning of oppressive ideologies and regulations well beyond the fictional androids of the game, they can understand complex issues related to technological advances, and even realize the difficulty of adequately representing such complex matters through traditional narratives.”

• AssumptionRests on an assumption: Detroit: Become Human is an interactive digital narrative.

Classified as probably not a substantial claim.

The fish scene in Detroit: Become Human has been artfully constructed by using the three layers of information presented and modelling their interactions.

“However, this scene has been artfully constructed by using the three layers of information presented here, and modelling their interactions.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

May combine two claims.

The engine requires a specific movement to instantiate the fish scene, namely moving the right analogue stick towards the interactor's body; this movement, which normally would cause the head of the character to tilt towards the floor, is here metaphorically associated with bringing into focus something that is laying on the floor.

“In addition, the engine requires a specific movement to instantiate the fish scene, namely moving the right analogue stick towards the interactor's body (Figure 1): this movement, which normally would cause the head of the character to tilt towards the floor, is here metaphorically associated with bringing into focus something that is laying on the floor.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable).

These memories are then used to process the world-which for IDNs is multimodal and interactively constructed-in a looping circle.

“These memories are then used to process the world-which for IDNs is multimodal and interactively constructed-in a looping circle.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

Reading a text necessarily requires background knowledge.

“Lastly, though perhaps a bit redundantly, also reading a text necessarily require background knowledge.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S2 (checkable).

Theoretical evidence supports the idea of understanding IDNs as complex expressive means.

“In this article I presented theoretical evidence supporting the idea of understanding IDNs as complex expressive means.”

Probably not a substantial claim: may not pass S2 (checkable).

Interactive Digital Narratives as coherent wholes can be adapted for employment in a wide variety of fields and with many functions.

“Additionally, Interactive Digital Narratives as coherent wholes can be adapted for employment in a wide variety of fields and with many functions, as showed by the multifarious perspectives presented by this special issue.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

Mimetic sounds are mimetic as soon as they resemble the real world-or at least the interactors' expectation of the real world-by definition.

“Similarly, the mimetic sounds are mimetic as soon as they resemble the real world-or at least the interactors' expectation of the real world -, by definition.”

• AssumptionRests on an assumption: Detroit: Become Human is an Interactive Digital Narrative (or contains an IDN).

Probably not a substantial claim: may not pass S4 (based).

Schemata are low-level structures that are equally somehow shared between large groups of people.

“Being low-level structures, schemata are equally somehow shared between large groups of people.”

Classified as probably not a substantial claim.

Developers and designers exploit these layers by modelling them in the creation of the unified whole we call Interactive Digital Narrative.

“I then showed, through a practical example, how developers and designers exploit these layers by modelling them in the creation of the unified whole we call Interactive Digital Narrative.”

May combine two claims.

Sensory inputs are the basis on which we build our memory, and memory is the basis on which we imagine and therefore act.

“Indeed, as it has been empirically proved to happen for pure imagination which is itself linked to memory (Pearson, 2019), sensory inputs are the basis on which we build our memory, and memory is the basis on which we imagine and therefore act.”

• cites Pearson, 2019 sourceNot checked — no full text of the source

May combine two claims.

Systemic understanding and shifts to behavioral scripts are two important benefits of the use of Interactive Digital Narratives to address complexity as a societal challenge.

“Systemic understanding and shifts to behavioral scripts are two important benefits of the use of Interactive Digital Narratives to address complexity as a societal challenge.”

• AssumptionRests on an assumption: Complexity constitutes a societal challenge.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Interactors of IDNs like Detroit: Become Human can understand complex issues related to technological advances.

“Interactors of IDNs like Detroit: Become Human could get a grasp of the functioning of oppressive ideologies and regulations well beyond the fictional androids of the game, they can understand complex issues related to technological advances, and even realize the difficulty of adequately representing such complex matters through traditional narratives.”

• AssumptionRests on an assumption: Detroit: Become Human is an interactive digital narrative.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Due to the ways sense-making works in IDNs, interactors could be prompted to shift behavioral scripts in regard to complex matters, for example when dealing with oppression or when deciding on their political position.

“In addition, due to the ways sense-making work in IDNs, interactors could be prompted to shift behavioral scripts in regard to complex matters, for example when dealing with oppression or when deciding on their political position.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Interactors of IDNs like Detroit: Become Human can realize the difficulty of adequately representing such complex matters through traditional narratives.

“Interactors of IDNs like Detroit: Become Human could get a grasp of the functioning of oppressive ideologies and regulations well beyond the fictional androids of the game, they can understand complex issues related to technological advances, and even realize the difficulty of adequately representing such complex matters through traditional narratives.”

• AssumptionRests on an assumption: Detroit: Become Human is an interactive digital narrative.