Much work has been done on the design of both interactive narratives and food-based interaction systems, however their intersection has received little attention within the design research community. We took the relative dearth of food-based interactive storytelling systems as an opportunity to explore a compelling design space for multisensory interactive narratives, given these few systems often position people only as passive observers. We report the results of a design workshop conducted among the authors who are design researchers in interactive narratives and food-based play. In the workshop, we discussed existing works, asynchronously brainstormed new food-based interactive storytelling systems, and then reconvened to discuss our ideas. We present the portfolio of designs that arose from this workshop, and the design themes that we synthesized from the portfolio. We recommend how to position people not just as observers, but as active participants in the interactive food-based storytelling system.

Design fiction has become so widely adopted that it regularly appears in contexts ranging from CEO speeches to dedicated tracks at academic conferences. However, evaluating this kind of work is difficult; it is not clear what good or bad design fiction is or what the judgment criteria should be. In this paper we assert that design fiction is a heterogeneous set of methods, and practices, able to produce a diversity of scholarly and design contributions. We argue locating these diverse practices under the single header of "design fiction" has resulted in epistemological confusion over the appropriate method of evaluation. We identify different traditions within the HCI literature-critical design; narratology and literary theory; studio-based design "crits"; user studies; scenarios and persona development; and thought experiments-to articulate a typology of evaluative frames. There is often a mismatch between the standards to which design fiction is held and the knowledge that speculative methods seek to produce. We argue that evaluating a given instance of design fiction requires us to properly select the right epistemological tool for the job.

In this paper we describe the design and evaluation of The Next Fairy Tale (TNFT) VR, a theatrical interactive storytelling system created in virtual reality and informed by performing arts theories. TNFT was designed to produce opportunities for interactors to experience role-taking and character identification using design principles drawn from actor training and theatrical performance. We report the results of a pilot qualitative study of interactors using TNFT to explore the elements of the design that supported or hindered roleplaying behavior. We identify four design patterns that supported roleplaying in the system: (1) using explicit roles to set player expectations, (2) embracing the "mask and the mirror" effect, (3) attending to visual and interactional details, and (4) easing the player gently into the roleplaying experience. These patterns speak to a broader need to support roleplay through explicit scaffolding of desired player behaviors in digital narrative experiences.

Despite the proliferation of platforms for social Virtual Reality (VR) communicating emotional expression via an avatar remains a significant design challenge. In order to better understand the design space for expressive Nonverbal Communication (NVC) in social VR we undertook an inventory of the ten most prominent social VR platforms. Our inventory identifies the dominant design strategies for movement, facial control, and gesture in commercial VR applications, and identifies opportunities and challenges for future design and research into social expression in VR. Specifically, we highlight the paucity of interaction paradigms for facial expression and the near nonexistence of meaningful control over ambient aspects of nonverbal communication such as posture, pose, and social status.

The experience of agency has been centralized in interactive digital storytelling research. Current approaches to agency place the actions of a reader into direct conflict with the authorial intentions of an interactive storyteller by privileging the authorial pleasures that come by interacting with the story's plot. In this paper we present the design and results of an empirical study of Shiva's Rangoli, a tangible interactive narrative system that supports meaningful interactions with the narratives that are decoupled from character actions and plot outcomes. Shiva's Rangoli allows readers to change the emotional, presentational, and aesthetic context of the story by giving them control over the ambience of the installation space where it is experienced, through a tangible interface. From our study, we identify three interaction styles or strategies undertaken by readers that reframe readers as Story Supporters, Meaning Makers, and Story Controllers to explore the pleasures of bounded agency within interactive storytelling.

Deployment of wearables for games has attracted the interest of designers and researchers both in academia and industry. However, few of these projects treat wearables as an integral part of the gameplay, often considering them as an extension of the central on-screen experience. While preliminary forays into wearable play show promise, we see a need for a rigorous design framework to illuminate the possibilities for the future of wearables for playful interaction design. In this paper we propose a Design Framework for Playful Wearables stemming from our extensive research and hands-on experience in leading four long-term game research projects incorporating wearables. We divide our framework into three high-level categories: the performative, the social and the interactive. We contend that this design space can be both a design tool for creators of wearable playful activities, as well as an analytical lens for evaluating existing wearable systems.

This paper describes the underlying motivation, creation process, and evaluation outcomes of Shiva's Rangoli, a tangible storytelling installation that allows readers to impact the emotional tone of a narrative by sculpting the ambience of their space. Readers interact with a tangible interface that acts as a boundary object between the reader and the fictional world. We discuss how these kinds of interfaces can engage readers to feel like they are a part of the story, endow them with responsibility, and blur the line between real and fictional worlds.

Idle games are a recent minimalist gaming phenomenon in which the game is left running with little player interaction. We deepen understanding of idle games and their characteristics by developing a taxonomy and identifying game features. This paper examines 66 idle games using a grounded theory approach to analyze play, game mechanics, rewards, interactivity, progress rate, and user interface. To establish a clearly bounded definition of idle games, we analyzed 10 non-idle games with the same approach. We discuss how idle games move players from playing to planning, how they question dominant assumptions about gameplay, and their unusual use of resources such as player attention and computer cycles. Our work illuminates opportunities for the design of idle games, suggests design implications, and provides a framework for researchers to clearly articulate questions about this genre.

While much popular discussion of representation in games exists, there is very little rigorously collected data available from which to draw direct conclusions. In this study, we set out to address this gap by performing a census of playable characters across a large sample of contemporary games. We gathered data from 200 games including independently published ("indie") games and so-called "AAA" titles from large publishers. While our initial analysis yielded some insight into the landscape of playable characters, it also highlighted the contingent, negotiated, and interpretive nature of representation in games. This led to additional analysis that emphasized the ways in which this negotiation manifests in research in the methods and metrics used to quantify representation. We argue that researchers studying representation in games need to treat it as a possibility space for a multitude of potential interpretations rather than a singular, measurable, phenomenon.

In this work, we describe several themes that can be useful for designing tangible technology in the context of death and mourning. We explore the effectiveness of physical and digital artifacts in the process honoring a loved one who has passed away. We employ a speculative prototype called Penseive Box to explore the intersection of tangible digital memorialization practices. Using this prototype to elicit reflections on personal memorialization practices, we interviewed several individuals who had recently lost a loved one, and present the results of our initial analysis here.

Smart devices are becoming increasingly commercially available. However, uptake of these devices has been slow and abandonment swift, which indicates that smart devices may not currently meet the needs of users. To advance an understanding of the ways users benefit from, are challenged by, and abandon smart devices, we asked a group of users to purchase smart sensing devices to advance themselves towards a personal, self-defined goal. We found that participants abandoned devices because they did not fit with the their conceptions of themselves, the data collected by devices were perceived to not be useful, and device maintenance became unmanageable. Participants used devices because they had developed routines and because devices were useful, satisfied curiosity, and held hope for potential benefit to them. We propose ways to reduce barriers, motivate use, and argue for envisioning an additional function of these devices for short-term interventions, in addition to standard long-term use.

There has been a significant increase in commercial interest in wearable technologies, spearheaded by Google's Glass project, and also by the success of a new generation of fitness oriented biosensors such as the Fitbit, the Bodymedia Fit, and the Misfit Shine. Concurrently, there has been a proliferation of embodied interfaces for digital games such as Nintendo's Wii, Sony's Move controller, and Microsoft's Kinect. These technologies often only scratch the surface of the design possibility space, overlooking nuances of social and emotional experience for wearers/players that are important in other areas of design, such as theatrical costuming and fashion. We propose a studio that offers participants the chance to create wearable game controllers that afford a playful exploration of this design terrain, encouraging transformation, collaboration, and enjoyment of rich spectacle.

This paper investigates the effects of physical objects as support for imagination in the context of enactive storytelling. More specifically, we target nine-year-old children because of their general disengagement from creative activity, a phenomenon known as the Fourth-grade Slump that arises from a demotivational spiral brought on by social awareness. We study how enactment using physical objects may allow the child to better engage in story imagination. Our study compares the richness of the imagination under three main enactment conditions with objects that have varying degrees of fidelity to referent objects: Cultural objects (physical visual resemblance); Physical objects (similar physical affordances); Arbitrary objects (minimal physical and visual affordances). We employ a mixed-methods analysis to gauge the child's level of broader imagination from three data sources: Enactment videos, drawings and interviews with the children. We found that the object types significantly differ in their support of the imagination, with the object of highest specificity being most effective. Our findings can inform the design of embodied creativity-support systems for children.

Research into the effects of serious games often engages with interdisciplinary models of how human behaviors are shaped and changed over time. To better understand these different perspectives we articulate three cognitive models of behavior change and consider the potential of these models to support a deeper understanding of behavior change in serious games. Two of these models -- Information Deficit and Procedural Rhetoric -- have already been employed in the design of serious games, while the third -- Emergent Dialogue -- is introduced from the field of Environmental Studies. We situate this discussion within a context of designing games for public engagement with issues of environmental sustainability.

DIY, hacking, and craft have recently drawn attention in HCI and CSCW, largely as a collaborative and creative hobbyist practice. We shift the focus from the recreational elements of this practice to the ways in which it democratizes design and manufacturing. This democratized technological practice, we argue, unifies playfulness, utility, and expressiveness, relying on some industrial infrastructures while creating demand for new types of tools and literacies. Thriving on top of collaborative digital systems, the Maker movement both implicates and impacts professional designers. As users move more towards personalization and reappropriation, new design opportunities are created for HCI.

In this paper we look at the Steampunk movement and consider is relevance as a design strategy for HCI and interaction design. Based on a study of online practices of Steampunk, we consider how, as a design fiction, Steampunk provides an explicit model for how to physically realize an ideological and imagined world through design practice. We contend that the practices of DIY and appropriation that are evident in Steampunk design provide a useful set of design strategies and implications for HCI.

This studio provides participants with an opportunity to engage in a hands-on exploration of the use of "design fictions" as a strategy for producing physical artifacts. The idea of design fictions blurs the boundaries between traditional design practices and narrative explorations of potential futures. If the goal of design is to devise courses of action aimed at changing existing situations into preferred ones, then the goal of design fiction is to use speculations, metaphors, and explorations of desired futurities to explicate and inform material design practices. Participants will have a chance to discuss these ideas, as well as to design and build their own "diegetic prototypes" out of materials sourced from local antique shops, thrift stores, and other nearby sources of inspiration. Through this hands-on exploration of the constraints and affordances of fictional scenarios and scavenged materials, we hope to collectively explore a compelling new design space for tangibles.

This paper introduces a collaborative learning game called Futura: The Sustainable Futures Game, which is implemented on a custom multi-touch digital tabletop platform. The goal of the game is to work with other players to support a growing population as time passes while minimizing negative impact on the environment. The design-oriented research goal of the project is to explore the novel design space of collaborative, multi-touch tabletop games for learning. Our focus is on identifying and understanding key design factors of importance in creating opportunities for learning. We use four theoretical perspectives as lenses through which we conceptualize our design intentions and inform our analysis. These perspectives are: experiential learning, constructivist learning, collaborative learning, and game theory. In this paper we discuss design features that enable collaborative learning, present the results from two observational studies, and compare our findings to other guidelines in order to contribute to the growing body of empirically derived design guidelines for tangible, embodied and embedded interaction.

In this paper we describe the Reading Glove, a wearable RFID reader for interacting with a tangible narrative. Based on interviews with study participants, we present a set of observed themes for understanding how the wearable and tangible aspects of the Reading Glove influence the user experience. We connect our observational themes to theoretical notions from interactive narrative and tangible interaction to create a set of design considerations such as enacting a role, ownership and permission, multiplicity of interpretations and boundary objects.