Trend AnalysisArts & Design
Extended Digital Narratives: When AI, Games, Chatbots, and XR Converge in Storytelling
The boundaries between literature, games, chatbots, and XR experiences are dissolving into 'extended digital narratives'โhybrid forms that combine human storytelling with algorithmic generation. Recent experimental practice reveals what happens when narrative meets computation.
By Sean K.S. Shin
This blog summarizes research trends based on published paper abstracts. Specific numbers or findings may contain inaccuracies. For scholarly rigor, always consult the original papers cited in each post.
The novel. The film. The video game. The VR experience. The chatbot conversation. Each is a narrative form with distinctive propertiesโand the boundaries between them are blurring. "Extended Digital Narratives" (XDN) is a term emerging in digital humanities and media studies for hybrid narrative forms that combine elements of multiple media with computational processes: stories that respond to the reader, environments that generate narrative elements procedurally, and characters that converse through language models.
The Research Landscape
Algorithmic Narrativity
Harder and Rettberg (2026) present the XDN research projectโan investigation of how experimental creative practice with emerging technologies generates critical insights into "algorithmic narrativity": the intersection of human narrative understanding and computational data processing.
The project documents five case studies spanning different narrative-computation combinations:
- AI-generated poetry: Using language models to produce poetic texts that are then curated, edited, and arranged by human authorsโraising questions about authorship, intentionality, and the role of selection in creative work.
- Chatbot fiction: Interactive narratives where the reader converses with an AI character, with the story emerging from the dialogue rather than following a pre-written path.
- Procedural game narratives: Games where story elements (character motivations, plot events, environmental details) are generated algorithmically, creating narratives that are different for every player.
- XR narrative environments: Physical-digital hybrid spaces where moving through a physical location triggers narrative content (text, audio, images) generated or selected by AI based on the participant's behavior.
- Data-driven documentary: Documentaries where the narrative structure is determined by real-time data (weather, news, social media)โcreating a "living document" that changes with the world it describes.
Participatory Museum Narratives
Salvetti and Bertagni (2026) examine how AI and XR are transforming museum experiences from passive display to participatory narrative. Their analysis identifies a shift from museums as "repositories of knowledge" to museums as "spaces for knowledge co-creation," where visitors contribute to the narrative through their interactions.
The design principles they identify: adaptivity (the experience adjusts to the visitor's interests and pace), multisensory engagement (visual, auditory, haptic, and olfactory elements combine to create immersive narrative), and participatory authoring (visitors' contributions become part of the narrative for subsequent visitors).
Heritage Institutions as Co-Creators
Oomen (2025) examines the evolving role of cultural heritage institutions in narrative creation. As AI enables the generation of rich narrative content from archival data, heritage institutions are shifting from being custodians (preserving narratives) and curators (selecting narratives) to co-creators (generating new narratives from their collections in collaboration with AI).
Melnyk, Kyselova, and Salvetti & Bertagni (2026) provide the broadest cultural perspective, examining how digital technologies, hypertextuality, and interactive media are transforming traditional literary forms. The novel becomes a hypertext; the poem becomes a generative algorithm; the drama becomes an interactive VR experience. These transformations are not merely changes in mediumโthey are changes in what "narrative" means.
Critical Analysis: Claims and Evidence
<
| Claim | Evidence | Verdict |
|---|
| Experimental creative practice with AI generates critical research insights | Harder et al.'s five case studies | โ
Supported โ practice-based research methodology demonstrated |
| Museums are shifting from display to participatory narrative | Salvetti & Bertagni's design analysis | โ
Supported |
| Heritage institutions are becoming narrative co-creators with AI | Oomen's institutional analysis | โ ๏ธ Uncertain โ early-stage transformation; long-term direction unclear |
| Digital technologies are transforming literary genres, not just delivering them | Melnyk et al.'s genre analysis | โ
Supported |
What This Means for Your Research
For digital humanities scholars, XDN represents a productive research framework for studying narrative forms that resist classification into traditional categories. For creative practitioners, the case studies documented by Harder et al. provide concrete models for experimental narrative work with emerging technologies.
Explore related work through ORAA ResearchBrain.
์์ค. ์ํ. ๋น๋์ค ๊ฒ์. VR ๊ฒฝํ. ์ฑ๋ด ๋ํ. ์ด ๊ฐ๊ฐ์ ๊ณ ์ ํ ์์ฑ์ ์ง๋ ๋ด๋ฌํฐ๋ธ ํ์์ด๋ฉฐ, ์ด๋ค ์ฌ์ด์ ๊ฒฝ๊ณ๋ ์ ์ ํ๋ ค์ง๊ณ ์๋ค. 'ํ์ฅ ๋์งํธ ๋ด๋ฌํฐ๋ธ(Extended Digital Narratives, XDN)'๋ ๋์งํธ ์ธ๋ฌธํ๊ณผ ๋ฏธ๋์ด ์ฐ๊ตฌ์์ ๋ถ์ํ๊ณ ์๋ ์ฉ์ด๋ก, ๋ณต์์ ๋ฏธ๋์ด ์์์ ์ฐ์ฐ ๊ณผ์ ์ ๊ฒฐํฉํ ํ์ด๋ธ๋ฆฌ๋ ๋ด๋ฌํฐ๋ธ ํ์์ ๊ฐ๋ฆฌํจ๋ค. ๋
์์๊ฒ ๋ฐ์ํ๋ ์ด์ผ๊ธฐ, ๋ด๋ฌํฐ๋ธ ์์๋ฅผ ์ ์ฐจ์ ์ผ๋ก ์์ฑํ๋ ํ๊ฒฝ, ์ธ์ด ๋ชจ๋ธ์ ํตํด ๋ํํ๋ ์บ๋ฆญํฐ๊ฐ ๊ทธ ์์ด๋ค.
์ฐ๊ตฌ ๋ํฅ
์๊ณ ๋ฆฌ์ฆ์ ๋ด๋ฌํฐ๋ธ์ฑ
Harder์ Rettberg(2026)๋ XDN ์ฐ๊ตฌ ํ๋ก์ ํธ๋ฅผ ์๊ฐํ๋๋ฐ, ์ด๋ ์ ํฅ ๊ธฐ์ ์ ํ์ฉํ ์คํ์ ์ฐฝ์ ์ค์ฒ์ด '์๊ณ ๋ฆฌ์ฆ์ ๋ด๋ฌํฐ๋ธ์ฑ(algorithmic narrativity)'โ์ธ๊ฐ์ ๋ด๋ฌํฐ๋ธ ์ดํด์ ์ปดํจํฐ ๋ฐ์ดํฐ ์ฒ๋ฆฌ์ ๊ต์ฐจ์ โ์ ๋ํ ๋นํ์ ํต์ฐฐ์ ์ด๋ป๊ฒ ์์ฑํ๋์ง๋ฅผ ํ๊ตฌํ๋ค.
์ด ํ๋ก์ ํธ๋ ๋ค์ํ ๋ด๋ฌํฐ๋ธ-์ฐ์ฐ ๊ฒฐํฉ ๋ฐฉ์์ ์์ฐ๋ฅด๋ ๋ค์ฏ ๊ฐ์ง ์ฌ๋ก ์ฐ๊ตฌ๋ฅผ ๊ธฐ๋กํ๋ค:
- AI ์์ฑ ์: ์ธ์ด ๋ชจ๋ธ์ ํ์ฉํด ์์ ํ
์คํธ๋ฅผ ์์ฑํ๊ณ , ์ด๋ฅผ ์ธ๊ฐ ์๊ฐ๊ฐ ํ๋ ์ด์
ยทํธ์งยท๋ฐฐ์ดํ๋ ๋ฐฉ์์ผ๋ก, ์ ์์ฑ, ์๋์ฑ, ์ฐฝ์์์ ์ ํ์ ์ญํ ์ ๊ดํ ์ง๋ฌธ์ ์ ๊ธฐํ๋ค.
- ์ฑ๋ด ํฝ์
: ๋
์๊ฐ AI ์บ๋ฆญํฐ์ ๋ํํ๋ ์ธํฐ๋ํฐ๋ธ ๋ด๋ฌํฐ๋ธ๋ก, ์ฌ์ ์ ์์ฑ๋ ๊ฒฝ๋ก๋ฅผ ๋ฐ๋ฅด๋ ๊ฒ์ด ์๋๋ผ ๋ํ ์์ฒด์์ ์ด์ผ๊ธฐ๊ฐ ์ ๊ฐ๋๋ค.
- ์ ์ฐจ์ ๊ฒ์ ๋ด๋ฌํฐ๋ธ: ์ด์ผ๊ธฐ ์์(์บ๋ฆญํฐ ๋๊ธฐ, ํ๋กฏ ์ฌ๊ฑด, ํ๊ฒฝ ์ธ๋ถ ์ฌํญ)๊ฐ ์๊ณ ๋ฆฌ์ฆ์ผ๋ก ์์ฑ๋์ด ํ๋ ์ด์ด๋ง๋ค ๋ค๋ฅธ ๋ด๋ฌํฐ๋ธ๋ฅผ ๊ฒฝํํ๊ฒ ํ๋ ๊ฒ์์ด๋ค.
- XR ๋ด๋ฌํฐ๋ธ ํ๊ฒฝ: ์ฐธ์ฌ์์ ํ๋์ ๊ธฐ๋ฐ์ผ๋ก AI๊ฐ ์์ฑํ๊ฑฐ๋ ์ ํํ ๋ด๋ฌํฐ๋ธ ์ฝํ
์ธ (ํ
์คํธ, ์ค๋์ค, ์ด๋ฏธ์ง)๊ฐ ๋ฌผ๋ฆฌ์ ๊ณต๊ฐ ์ด๋์ ๋ฐ์ํ์ฌ ์ด๋ฐ๋๋ ๋ฌผ๋ฆฌ-๋์งํธ ํ์ด๋ธ๋ฆฌ๋ ๊ณต๊ฐ์ด๋ค.
- ๋ฐ์ดํฐ ๊ธฐ๋ฐ ๋คํ๋ฉํฐ๋ฆฌ: ์ค์๊ฐ ๋ฐ์ดํฐ(๋ ์จ, ๋ด์ค, ์์
๋ฏธ๋์ด)์ ์ํด ๋ด๋ฌํฐ๋ธ ๊ตฌ์กฐ๊ฐ ๊ฒฐ์ ๋๋ ๋คํ๋ฉํฐ๋ฆฌ๋ก, ๊ทธ๊ฒ์ด ๋ฌ์ฌํ๋ ์ธ๊ณ์ ํจ๊ป ๋ณํํ๋ '์ด์์๋ ๋ฌธ์'๋ฅผ ๋ง๋ค์ด ๋ธ๋ค.
์ฐธ์ฌํ ๋ฐ๋ฌผ๊ด ๋ด๋ฌํฐ๋ธ
Salvetti์ Bertagni(2026)๋ AI์ XR์ด ๋ฐ๋ฌผ๊ด ๊ฒฝํ์ ์๋์ ์ ์์์ ์ฐธ์ฌํ ๋ด๋ฌํฐ๋ธ๋ก ์ด๋ป๊ฒ ๋ณํ์ํค๋์ง๋ฅผ ๋ถ์ํ๋ค. ์ด๋ค์ ๋ถ์์ ๋ฐ๋ฌผ๊ด์ด '์ง์์ ์ ์ฅ์'์์ ๋ฐฉ๋ฌธ๊ฐ์ด ์ํธ์์ฉ์ ํตํด ๋ด๋ฌํฐ๋ธ์ ๊ธฐ์ฌํ๋ '์ง์ ๊ณต๋ ์ฐฝ์กฐ์ ๊ณต๊ฐ'์ผ๋ก ์ด๋ํ๊ณ ์์์ ํ์ธํ๋ค.
์ด๋ค์ด ์ ์ํ๋ ์ค๊ณ ์์น์ ๋ค์๊ณผ ๊ฐ๋ค: ์ ์์ฑ(๊ฒฝํ์ด ๋ฐฉ๋ฌธ๊ฐ์ ๊ด์ฌ๊ณผ ์๋์ ๋ง๊ฒ ์กฐ์ ๋จ), ๋ค๊ฐ๊ฐ์ ์ฐธ์ฌ(์๊ฐ, ์ฒญ๊ฐ, ์ด๊ฐ, ํ๊ฐ ์์๊ฐ ๊ฒฐํฉ๋์ด ๋ชฐ์
ํ ๋ด๋ฌํฐ๋ธ๋ฅผ ํ์ฑํจ), ์ฐธ์ฌ์ ์ ์(๋ฐฉ๋ฌธ๊ฐ์ ๊ธฐ์ฌ๊ฐ ์ดํ ๋ฐฉ๋ฌธ๊ฐ์ ์ํ ๋ด๋ฌํฐ๋ธ์ ์ผ๋ถ๊ฐ ๋จ).
๊ณต๋ ์ฐฝ์์๋ก์์ ๋ฌธํ์ ์ฐ ๊ธฐ๊ด
Oomen(2025)์ ๋ฌธํ์ ์ฐ ๊ธฐ๊ด์ ์งํํ๋ ์ญํ ์ ๋ถ์ํ๋ค. AI๊ฐ ์์นด์ด๋ธ ๋ฐ์ดํฐ๋ก๋ถํฐ ํ๋ถํ ๋ด๋ฌํฐ๋ธ ์ฝํ
์ธ ์์ฑ์ ๊ฐ๋ฅํ๊ฒ ํจ์ ๋ฐ๋ผ, ๋ฌธํ์ ์ฐ ๊ธฐ๊ด์ ์ํธ์(๋ด๋ฌํฐ๋ธ ๋ณด์กด)์ ํ๋ ์ดํฐ(๋ด๋ฌํฐ๋ธ ์ ๋ณ)์ ์ญํ ์์ AI์์ ํ์
์ ํตํด ์ปฌ๋ ์
์ผ๋ก๋ถํฐ ์๋ก์ด ๋ด๋ฌํฐ๋ธ๋ฅผ ์์ฑํ๋ ๊ณต๋ ์ฐฝ์์๋ก ์ ํ๋๊ณ ์๋ค.
๋ฌธํ ์ฅ๋ฅด์ ๋ณํ
Melnyk, Kyselova, ๊ทธ๋ฆฌ๊ณ Salvetti & Bertagni(2026)๋ ๊ฐ์ฅ ๋์ ๋ฌธํ์ ๊ด์ ์ ์ ๊ณตํ๋ฉฐ, ๋์งํธ ๊ธฐ์ , ํ์ดํผํ
์คํธ์ฑ, ์ธํฐ๋ํฐ๋ธ ๋ฏธ๋์ด๊ฐ ์ ํต์ ์ธ ๋ฌธํ ํ์์ ์ด๋ป๊ฒ ๋ณํ์ํค๋์ง๋ฅผ ๋ถ์ํ๋ค. ์์ค์ ํ์ดํผํ
์คํธ๊ฐ ๋๊ณ , ์๋ ์์ฑ ์๊ณ ๋ฆฌ์ฆ์ด ๋๋ฉฐ, ๋๋ผ๋ง๋ ์ธํฐ๋ํฐ๋ธ VR ๊ฒฝํ์ด ๋๋ค. ์ด๋ฌํ ๋ณํ์ ๋จ์ํ ๋งค์ฒด์ ๋ณํ๊ฐ ์๋๋ผ '๋ด๋ฌํฐ๋ธ'๊ฐ ๋ฌด์์ ์๋ฏธํ๋์ง์ ๋ํ ๋ณํ์ด๋ค.
๋นํ์ ๋ถ์: ์ฃผ์ฅ๊ณผ ๊ทผ๊ฑฐ
<
| ์ฃผ์ฅ | ๊ทผ๊ฑฐ | ํ์ |
|---|
| AI๋ฅผ ํ์ฉํ ์คํ์ ์ฐฝ์ ์ค์ฒ์ด ๋นํ์ ์ฐ๊ตฌ ํต์ฐฐ์ ์์ฑํ๋ค | Harder et al.์ ๋ค์ฏ ๊ฐ์ง ์ฌ๋ก ์ฐ๊ตฌ | โ
์ง์ง๋จ โ ์ค์ฒ ๊ธฐ๋ฐ ์ฐ๊ตฌ ๋ฐฉ๋ฒ๋ก ์ด ์
์ฆ๋จ |
| ๋ฐ๋ฌผ๊ด์ด ์ ์์์ ์ฐธ์ฌํ ๋ด๋ฌํฐ๋ธ๋ก ์ ํ๋๊ณ ์๋ค | Salvetti & Bertagni์ ์ค๊ณ ๋ถ์ | โ
์ง์ง๋จ |
| ๋ฌธํ์ ์ฐ ๊ธฐ๊ด์ด AI์ ํจ๊ป ๋ด๋ฌํฐ๋ธ ๊ณต๋ ์ฐฝ์์๊ฐ ๋๊ณ ์๋ค | Oomen์ ๊ธฐ๊ด ๋ถ์ | โ ๏ธ ๋ถํ์ค โ ์ด๊ธฐ ๋จ๊ณ์ ๋ณํ์ผ๋ก ์ฅ๊ธฐ์ ๋ฐฉํฅ์ ๋ถ๋ถ๋ช
|
| ๋์งํธ ๊ธฐ์ ์ด ๋ฌธํ ์ฅ๋ฅด๋ฅผ ๋จ์ํ ์ ๋ฌํ๋ ๊ฒ์ด ์๋๋ผ ๋ณํ์ํค๊ณ ์๋ค | Melnyk et al.์ ์ฅ๋ฅด ๋ถ์ | โ
์ง์ง๋จ |
์ฐ๊ตฌ์๋ฅผ ์ํ ์์ฌ์
๋์งํธ ์ธ๋ฌธํ ์ฐ๊ตฌ์์๊ฒ XDN์ ์ ํต์ ๋ฒ์ฃผ๋ก ๋ถ๋ฅํ๊ธฐ ์ด๋ ค์ด ๋ด๋ฌํฐ๋ธ ํ์์ ์ฐ๊ตฌํ๊ธฐ ์ํ ์์ฐ์ ์ธ ์ฐ๊ตฌ ํ๋ ์์ํฌ๋ฅผ ์ ๊ณตํ๋ค. ์ฐฝ์ ์ค์ฒ๊ฐ์๊ฒ๋ Harder et al.์ด ๊ธฐ๋กํ ์ฌ๋ก ์ฐ๊ตฌ๋ค์ด ์ ํฅ ๊ธฐ์ ์ ํ์ฉํ ์คํ์ ๋ด๋ฌํฐ๋ธ ์์
์ ๊ตฌ์ฒด์ ์ธ ๋ชจ๋ธ์ ์ ์ํ๋ค.
๊ด๋ จ ์ฐ๊ตฌ๋ ORAA ResearchBrain์ ํตํด ํ์ํ ์ ์๋ค.
References (5)
[1] Harder, L.R., Johnston, D.J., & Rettberg, S. (2026). Extending Digital Narrative with AI, Games, Chatbots, and XR. Humanities, 15(1), 17.
[2] Salvetti, F. & Bertagni, B. (2026). AI and Extended Reality for Interactive Museum Experiences. International Journal of Advanced Corporate Learning, 19(1).
[3] Oomen, J. (2025). New Narrative Visions for Cultural Heritage: Institutions as Custodians, Curators, and Co-creators. Proc. ACM.
[4] Melnyk, O., Kyselova, I., & Tereshchuk, M. (2025). The Transformation of Literary Genres in the Digital Age.
Salvetti, F., & Bertagni, B. (2026). Artificial Intelligence and Extended Reality for Interactive Museum Experiences: Designing Participatory, Multisensory, and Adaptive Spaces for Knowledge Sharing. International Journal of Advanced Corporate Learning (iJAC), 19(1).