Narrative has been central to psychoanalysis from its inception. What has been explored less is the relationship between psychotherapy and interactive narrative. In particular, narrative therapy is a wellestablished practice in psychotherapy which shares central concerns with interactive narrative research and practice. In this paper, we explore the foundational role of narrative in psychotherapy and consider its interactive aspect. Then, we identify the overlap between interactive narratives and narrative therapy, and identify interactive narrative works which use this potential for therapeutic purposes. We also describe a concrete implementation, the board game Mind Stories, and introduce the concept of interactive narrative therapy.

In this paper, we discuss how theories can fail us in analysis and design of interactive digital narrative (IDN) works. We demonstrate a range of theoretical failures using the milestone IDN work Façade. To this end, we demonstrate the effect of different theoretical lenses, treating Façade as an interactive drama, as a game, as a work of hypertext fiction, and as general IDN work. We identify different types of theory failures with regards to analysis, creation and audience reception: miscatogorization, blind transfer, bogus theory, semantic creep, analytical blur, out of date, lack of problematization, fallacy of universality, analysis-productive mistakes, inappropriate conventions, out of context, over-pragmatization, and setting the wrong expectations for audiences. Finally we propose a way to prevent theoretical failures and call for more work in this respective area.

What happens when scholars approach novel phenomena such as Interactive Digital Narrative (IDN)? How can we be certain that theoretical frameworks, analytical approaches, and vocabulary are adequate,which means that they are able to fully describe the specific characteristics of the novel phenomena? The same goes for approaches in the practice - how can we be sure that the chosen design methods enable the use of the full expressive potential of a novel phenomena? Furthermore, we ask how we can critique and improve categories and approaches? We reflect on how theory and analytical approaches have been produced so far, identify issues with the current practice, consider alternatives and propose a number of measures to improve the situation. Amongst them are increased efforts on the meta-level in terms of theoretical development and reflective works which concern themselves with the further development of the field, iterative approaches towards theory and method, a more critical approach in education, multi-method analysis, and dynamic representations.

In this overview paper, we consider interactive digital narratives (IDN) as a means to represent and enable understanding of complex topics both at the public level (e.g. global warming, the COVID-19 pandemic, migration, or e-mobility) and at the personal level (trauma and other mental health issues, interpersonal relationships). We discuss scholarly approaches to complexity, limitations of traditional media to represent complex issues, and describe the potential of IDN in this regard and what aspects need further work in research and beyond, which serve as the starting point for the EU COST action INDCOR.

Tabletop roleplaying games (TTRPGs) and procedural content generators can both be understood as systems of rules for producing content. In this paper, we argue that TTRPG design can usefully be viewed as procedural content generator design. We present several case studies linking key concepts from PCG research-including possibility spaces, expressive range analysis, and generative pipelines-to key concepts in TTRPG design. We then discuss the implications of these relationships and suggest directions for future work uniting research in TTRPGs and PCG.

In this paper, we react to developments that frame research in interactive digital narrative (IDN) as a field of study and potential future academic discipline. We take stock of the current situation, identify issues with perception and point out achievements. On that basis we identify five critical challenges, areas in need of attention in order to move the research field forward. In particular we discuss the dependency on legacy analytical frameworks (Groundhog Day), the lack of a shared vocabulary (Babylonian Confusion), the missing institutional memory of the field (Amnesia), the absence of established benchmarks (No Yardstick) and the overproduction of uncoordinated and quickly abandoned tools (Sisyphus). For each challenge area, we propose ways to address these challenges and enable increased collaboration in the field. Our paper has the aim to both provide orientation for newcomers to the field of IDN and to offer a basis for a discussion of future shared work.

This paper presents a case study of a Bachelor level game research methods course (15 ECTS). The course covers observations, interviews, and introduction to statistical analysis. The course set-up follows \textit{constructive alignment} design where the aim is that the learning goals, learning tasks, and evaluation are aligned. During the course, students first learn research design and later design their research based on a set of examples and conduct data gathering and analysis. The evaluation of the pedagogical approach used is based on students' learning diaries where the focus is the methods and applying methods. Qualitative evaluation indicates that students can better describe their research designs and analyses.

In this vision paper, we posit ‘game system building’ as a paradigm for game design. Inspired by earlier perspectives on cybernetic art and generative art we consider the creation of dynamic game systems as an artistic practice where the consideration of complex and often unpredictable behavior and effects are as foundational as the individual elements (rules, graphics, characters, UI etc.). The perspective of ‘game system building’ has important implications for the education of designers and games scholars. In this paper, we introduce the paradigm and its lineage and propose an educational approach that reflects ‘game system building’.

This paper describes the design approach TOG (standing for Technology, Ontology, and Game Genre), and how it can be used in teaching game design and technologies enabling computational expression. TOG, inspired by the processes of AI Based Game Design, was conceptualized when teaching a course on computational expression at the University of Malta. The main aim with teaching with the approach was to facilitate innovation and to prompt students to expand their palette of methods for computational expression as game designers