Comment créer une expérience narrative non linéaire à l’aide de la réalité augmentée ?

AR/VR provide an opportunity to relearn storytelling through spatial and interactive tools rather than relying on 2D imagery (which is a pretty ancient technique when you think about it). Though it's hard to precisely define what makes an experience linear or nonlinear, the fundamental principle is that audiences should discover the story by engaging with objects in space, rather than passively following a narrative on a display. What defines a good AR nonlinear experience? It instills a sense of growing curiosity, personal engagement, and a deepened connection with the physical environment. A successful AR piece will resurface in your memory each time you revisit the place where you first tried it.

Unlike linear stories which the events are sequenced from beginning to end the non linear one can have multiple ending and outcomes depending on user interaction with the story and the world of it which can lead to far more engaging and interesting, unique experiences and stories for each one.

In augmented reality, a non-linear story evolves beyond traditional narratives. It transcends linear timelines, adapting to user actions, unveiling diverse plot paths based on choices. Augmented reality amplifies immersion, integrating user decisions with branching storylines, fostering multiple outcomes and perspectives. This dynamic narrative architecture amplifies engagement, from simple choices to intricate puzzles, offering diverse interactive levels. Augmented reality's capacity to blend reality with fiction, akin to Choose Your Own Adventure books, video games, interactive films, and escape rooms, enriches storytelling by expanding possibilities within an immersive environment.

Cuando hablamos de "historia no lineal" se refiere a las nuevas narrativas que surgieron a partir de los hechos y sucesos que transcurren en los medios digitales o el mundo virtual. En estos entornos hay infinidad de ventanas en las que en simultáneo el espectador o interactivo puede ingresar, a ver o intervenir. Por eso las historias dejaron de ser lineales porque durante el recorrido o proceso surgen nuevas acciones, interacciones o modificaciones de la narrativa y se convierte como si un pulpo estuviese gestionando sus me gustas a la vez con todas sus extremidades en simultáneo. También hay que analizar que requiere de una atención mayor a las narrativas lineales "analógicas" porque se puede perder "el hilo" de la historia...

Une histoire non linéaire est un récit qui ne suit pas une progression linéaire du début à la fin. Contrairement à une histoire traditionnelle qui se déroule de manière chronologique, une histoire non linéaire peut présenter des embranchements, des retours en arrière, des sauts temporels ou d'autres structures narratives complexes. D'habitude les événements ne se succèdent pas nécessairement dans l'ordre chronologique, et le lecteur ou le spectateur peut avoir un rôle actif dans la manière dont l'histoire se développe. Les participants peuvent découvrir l'histoire de manière unique, en fonction de leurs choix ou de leurs actions, en combinant une narration engageante, des interactions physiques et des embranchements scénaristiques.

Augmented Reality (AR) introduces a dynamic dimension to non-linear storytelling, bridging the gap between imagination and reality. By intertwining digital elements seamlessly into the user's surroundings, AR transforms storytelling into an interactive, personalized journey. This fusion of virtual and physical realms enriches the narrative by enabling users to navigate through alternate plotlines, uncover hidden layers, and even alter story outcomes based on their actions, fostering an unparalleled sense of agency and engagement within the immersive narrative landscape.

La realidad aumentada, tiene una ventaja muy interesante a la hora de contar o narrar historias no lineales, porque esos hipertextos o anclajes en la herramienta de inmersión, hace que frente a la experiencia, el cerebro, pueda entender mejor lo que se quiere contar, porque lo asimila, no como si fuese una ficción, sino más bien como parte de hechos o fragmentos reales. Por lo tanto el utilizarla es similar a la experiencia del sueño o a las películas de salas 4D.

la réalité augmentée offre un moyen innovant d'explorer la narration non linéaire en exploitant les caractéristiques uniques de l'espace physique et en permettant aux utilisateurs d'interagir de manière plus directe avec l'intrigue, et l'immersion dans l'histoire lui permet de vivre une expérience unique. La réalité augmentée offre plusieurs avantages pour la création d'une narration non linéaire : 1. Interaction avec le monde réel. 2. Géolocalisation. 3. Interactivité accrue. 4. Personnalisation de l'expérience. 5. Combinaison du virtuel et du réel. 6. Vivre différents scénarios, selon le le cheminement sélectionné par l'utilisateur.

AR is very powerful for non-linear storytelling, the ability of blending the virtual and physical worlds makes it more personalized and engaging for the user. and if you add interactions on top of that you will have a unique experience and story for everyone tries your experience.

Perfect medium because ypu can augment the realworld. Even use location based procedural generation of experiences. Because the player is not limited to a stationary location, you can have players converge and experience interactive scenarios while exloring the real world.

Again, starting with the clarification that question means user-centric, instead of non-linear. First of all, accept that nothing that you have ever seen in any other medium are non-applicable to AR. If not, you are still trying to make windows games for an iPhone. Even throw all VR experience away. Start with a "clear your mind Neo" mindset, or you will fall. Here is the harsh fact: You cannot suspend the user's disbelief anymore! Period. Your player is in their good old living room. Forget about typical Elder Scrolls intros where you are a criminal starting a new story in a prison or back of a wagon. You have to design a story that will make sense to user in their environment. That is an enormous restriction. Ignore it, and you failed.

Designing a non-linear story for Augmented Reality (AR) demands meticulous planning and iterative processes. Start by defining your goal and audience to shape the story's structure and branches. Design story elements and interactions using AR tools, visualizing and animating them effectively. Develop a prototype and test it with real users, gathering feedback for enhancements. Incorporate unexpected twists and interactive nodes, encouraging user exploration. Balance freedom and guidance, ensuring an engaging narrative flow while embracing AR's immersive potential. Mastery of non-linearity in AR storytelling stems from constant refinement and innovative design choices.

Es bastante más compleja la creación y diseño de historias no lineales para realidad aumentada, ya que hay que ir definiendo los actores, el escenario, el sentido, el objetivo, la intencionalidad que se quiere expresar pero a su vez, todo ello será interpelado y modificado por los receptores, espectadores, actores, primarios o secundarios, y además la valoración del público que queda inmerso en la trama.

En combinant une narration immersive, des choix significatifs, des interactions avec le monde réel et incrusté des scènes virtuelles dans la réalité de l'utilisateur, vous pouvez concevoir une expérience en réalité augmentée offrant une histoire non linéaire captivante et personnalisée. La conception d'une histoire non linéaire pour la réalité augmentée nécessite une approche réfléchie. Voici quelques étapes pour vous guider : 1. Définir les embranchements narratifs. 2. Utiliser la géolocalisation de manière stratégique. 3. Intégrer des objets virtuels dans le monde réel. 4. Créer des choix impactants. 5. Utiliser des indices visuels ou sonores. 6. Élaborer une structure narrative flexible. 7. Test et ajustements.

Tools for animation are so tangible atm. AInteresting turn of events is making it very accessible. don't go further than Runway for ex.

Continuing from the previous articles, the greatest challenge is of course the impossibility of suspension of disbelief in the AR environment. If you think about the three main components of the game, the Player, the Real and the Virtual, even when the three of these are frequently interacting with each other (which majority of AR games don't yet do), even for those rare games they set you in impossible situations that only make sense in isolation from your environment. People can't wrap their mind around why Quest-3 doesn't have dozens of successful hardware selling MR titles yet, and this is the core issue. Zombies climbing from your living room's wall will not work, because the player has not suspended their disbelief. Simple/evasive.

Non-linear storytelling in AR presents challenges requiring specific strategies for success. Engaging users consistently is key—offer clear feedback, hints, rewards, or progress indicators. Meaningful choices aligned with user interests sustain engagement. Maintaining story coherence demands visualization tools like story maps and storyboards. Organize and review story branches with scripts. Optimize performance by using low-poly models, compressed textures, and spatial audio. Test your AR story across various devices and environments for compatibility and accessibility assurance.

En principio, el ejemplo de la ópera clásica podría servir como soporte, para rescatar algunas herramientas de guía y organización muy específicos con que se cuenta en el mundo de la música clásica. Añadimos aquí como si fuese una partitura, una línea de tiempo audiovisual, que encierra con enlaces en tiempo real y anclados en la nube, los territorios o ejemplos, o anexos que se pretendan dejar como ejemplos. En este sentido, por ejemplo, en el caso de un vestuario especial, color y texturas, etc, se incorporan en esa expresión temporal y por lo tanto el director que va a leer la historia sabrá puntualmente cómo y cuando irán detalladamente pero a su vez de manera simple y en tiempo real cómo es que se debe contar la historia.

Basically go with the 8bit flow, processed with AI alg. Modularity of creative flow today has never been so real. AI haven't suffocated designer niche...it elevates it to unseen lvl's. I wonder which "environments" should we test on?!

Non-linear stories in augmented reality (AR) transcend conventional narratives, offering immersive experiences that intertwine user agency and real-world interaction. Examples span diverse media: The Walking Dead: Our World blends gameplay and real locations; Wonderbook: Book of Spells brings Harry Potter lore to life; Unrest unravels a global documentary through AR lenses, spotlighting chronic fatigue syndrome; Ingress fuses global factional battles with real-world landscapes; Wonderscope immerses users in interactive tales through voice and gestures. These AR narratives redefine storytelling, empowering users to shape their unique journeys within dynamic, non-linear narrative landscapes.

En la vida real, con el uso del satélite y las comunicaciones, los programas televisivos, informativos, hacen uso de la realidad aumentada, cuando se interactúa en vivo con historias que están sucediendo y se van relatando en el mismo instante y dónde las personas próximas al hecho o a la noticia, se ven transformadas por esa realidad, que pueden ver a través de las distintas pantallas instaladas en la vía pública o sus distintos dispositivos. El ejemplo más común es cuando un usuario ve a través de una cámara de seguridad un hecho delictivo y entra en escena para evitar un hecho. O cuando los ingenieros sociales crean estrategias de comunicación para generar determinadas espectativas o impacto de aceptación de productos o marcas.

There are currently no examples of successful Mixed Reality games with user-centric stories in any hardware. Two AR mixed reality games named Zombies Noir and The Cabin try to force a VR-paradigm story into MR and fail at convincing the player that the room they were having dinner ten minutes ago now has zombies in it. They involve successful amount of Player-Real-Virtual interaction, but did not address suspension of disbelief issue in AR. Some games such as Asgard's Wrath-2, Ghostbusters or Assassin's Creed Nexus have tiny segments that drop player into their living room and force the story to connect to your environment, and fail greatly because they are still working in a VR paradigm and drop player in real world without preparation.