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set of challenges that are not so prominent in other domains. This section discusses the most critical of these challenges. 4. Establishing a Common Vision The ? st step towards bringing an interactive storytelling experience into a cultural institution is establishing a common vision between the domain experts and the creative industries involved in the production of the envisioned experience. Museums are often perceived as guardians of our historical memories and as such may be reluctant to experiment with the presentation of the factual evidence in order to facilitate more engaging storytelling experiences. Even the inclusion of ? tional characters, especially in main roles in a story, can become a major challenge, and authors can be asked to make compromises so that the characters they design can be approved by the domain experts. This constant controversy between “facts” and “? tion” is one of the main challenges for the full introduction of interactive storytelling in cultural heritage digital experiences. At the moment there are very few, if any, experts in storytelling for heritage who can claim expertise in this art form, applied in real world contexts, beyond particular specialty Applying Interactive Storytelling in Cultural Heritage 607 research themes. All authors should be made aware through an appropriately presented conceptual framework of the characteristics, challenges and limitations of the mobile interactive storytelling approach and establish early on their objective, taking into account the institutional needs and budget. A relevant, overlooked issue in the domain of heritage is that of genres and their relation to offering personalized content to the users. The entire movie, book and videogame industries are built around genres and services like Netflix have minute data on people’s speci? genre interests that allow them to develop niche shows perfectly tailored to their audiences (Madrigal 2014). All involved experts need to be trained not only in the use of possible authoring tools, but also in the overall authoring methodology—even in the simple notion of the need for interaction in the plot level and branching narratives. This may be especially true for cultural heritage professionals who are less familiar with the affordances of digital tools (interaction, non-linearity), and hence might require some initial guidance to assimilate them in their interpretative practices. Concrete guidelines, in different forms for different uses, should be available to support ideation, design and development. They consider them very convenient not only as design tools, but also to convey easily the idea that a particular image, narrative style, subject, character, or story part may be interesting for one visitor category but irrelevant to another. Thus, personas feature among the design tools available to the author when compiling a story.

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