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entertainment by forcing the user to move on the story line. The users should have the

freedom to actually make the choice themselves; regarding a reasonable time limit, on

whether they want to move on to the story line and when. It is our belief that the role

of the drama manager should only to intervene in order to regulate the dramatic

interest of the narrative, directing the narrative flow for this purpose but not imposing

it upon the users.

A process view of narrative replaces the concept of narrative-as-artefact and the

analytic approach to theory which goes with it with narrative-as-process and a

synthetic approach to theory. It is then interesting to consider what existing process-

based theories might be applicable to a narrative process. We have not so far

investigated the possibilities in depth, but two possibilities immediately occur. In the

first, the application of process algebras might provide a compositional framework

within which characters are combined and these interactions produce changed

characters and further interactions. By matching the interaction history against

significant fragments expressed in process algebra [31] and rated for user interest,

new processes and characters could be introduced as part of the management of the

emerging narrative. It is clear that every narrative forms a closed system defined by

the locations, the characters and their action repertoire and the external events that can

occur. One of the important functions of dramatic management is to trigger external

events (at its most simple, the 'wandering monsters' of RPG dungeon fame), add to

subtract from the action repertoire of characters, and add or remove characters from

the narrative world.

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