Problem statement: Computer games are one of the latest achievements of communication technology that has a new approach in narration. Participation and the possibility of influencing the user by selecting two or more characters in the story narrative, not only has not removed this field from the traditional period and the linear course of narration in games, but has entered a new era with the introduction of its interactive narratives. interactive narratives in computer games fall under the artistic trend, which, along with the importance of the aesthetic aspects of the narrative, tries to provide the fields of interaction with its story elements by providing an effective role in the formation of the story of computer games. Interactivity is one of the reasons for the penetration, attractiveness and high sales of computer games, and they believe that the interactivity factor separates video and computer games from other media. The role of the audience in forming the narrative is very broad. The narrative structure is also important in the formation of the audience's interactive relationship with the games. The present research, while explaining the role of interaction and the importance of interactive narratives in the structure of computer games, introduces its main elements.Research question: This research seeks the answer to the question of how to provide a model for interactive computer games to give users an interactive form.Research method: This descriptive-analytical research is based on the perspective of Roland Barthes in discovering the narrative structure and the three main levels of functions, actions and narration in interactive computer games are analyzed in order to identify a model for making computer games and to identify the audience as the action of the narration and its guide should participate through the helpers. In order to achieve the goals of the research, one of the first interactive computer games named Mortal Kombat is analyzed. This game contains a series of narratives with a fighting genre, created in a fictional world by ancient gods in eighteen realms. In the video game industry of the 90s, it not only influenced the formation of interactive media, but also contributed to the innovation and evolution of the fighting genre with its high-quality story and cinematic modes.The main plot is the fight in Mortal Kombat game, and in the form of branching, there are two sub-plots that are dependent on the main plot, making the core narrative of Mortal Kombat computer game. Based on Roland Barthes’ opinion, the core and catalyst functions, profile functions or actions, which are the prominent characters in each period of the game, and the informants, the effective place and time in the narrative flow of each successive period of the game, are specified in the above table. And users (players) before starting the game by selecting one of the characters of the story, start their performance and activities under the fight. The achievement of victory has the main function of freeing the territory, conquering or combining the territory and becoming a hero, and the achievement of defeat includes the main functions such as conquest and death. Catalyst functions, in some periods of the game, are formed around the main functions. The profiles refer to the active characters and informants to determine the time and place in the narrative of each game period.Research results: The proposed structure for interactive computer games is a combination of pearl narrative, branching narrative and narrative structure from the perspective of Roland Barthes, which includes progress, main, mediating, indexing and informative functions. Pearl narrative is a linear narrative and has its own limitations. The possibility of interaction for the user is limited and allowed to step-by-step choices. In the branching narrative, the progressive and progressive steps during the game require the definition of the main and intermediate functions as a roadmap for the user to expand the level of his involvement and choices and enter the desired path and the narrative in it. As seen in the structural analysis of the Mortal Kombat computer game, the narrative process from the beginning of the first period to the eleventh period and the add-on package ends with the final choice and freedom of the user in selecting the final fate and deciding on the victory of Shang Song or the God of Fire. The proposed structure of a combination of the structure of interactive computer games is described below: The proposed structure of the interactive narrative of computer games; A combination of narratives of pearls, branching and structuralism of Roland Barthes.               In this structure, the stages of the computer game take place sequentially (A, B, C, etc.), in each stage one or more progress (P) can be defined, each progress includes several core functions. (f1, f2, and...) and users play by selecting actions (i) and informants (e), and core functions and then by selecting the function (catalyst) (C) that has core functions (f, f2 and ...) and by obtaining the result of victory (R) it goes to the next stage. Reaching to the last stage is selecting the final fate and key characters and finishing the game by the users. The structure can be changed according to the narratives of the game and have more branches, the stages of the game, achievements, nuclear and intermediate functions or the number of profiles and informants can increase or decrease. In general, it seems that the narrative infrastructure in interactive games combined with interactive narratives may follow such a structure, thus by creating more paths in the narration flow, it exposes the users to more possible challenges. It makes the game more exciting and, more importantly, it creates more interaction between the game narrative and its actors and users. By proposing a structural model for the analysis and optimization of computer games, while helping users, designers, and critics in this field, it is possible to express part of the necessary fields for a correct understanding with interactive narratives.   

Virtual reality animation is a new trend whose narrative genre is interactive storytelling. On the one hand, it is similar to the cinema thus the author's decision on narration is at the discretion of the author, and the viewer has no role in ending the story, and on the other hand, it is similar to the gaming genre, and the viewer enters the story space through the displays on the head of virtual reality and can be a part of the story. It is the interactive form of the information that is appealing, but it is not the player's audience. In this case, virtual reality has a place between knowledge and instrumentality. In this new medium, in addition to narrative techniques, physical equipment is also effective in enhancing the engagement of the audience. By placing screens on its head, the audience enters a computer-modeled three-dimensional space, and with 360 degrees of freedom, it can see the scene in which the story is going to happen, the camera whose eyes are the audience is in his possession and not that of the director. At one hand, similar to cinema, in this particular type, it is the author who decides about narration and the participant has no say in the closure of the story; on the other hand, it is similar to games, in which a participant enters into the story space through screens s/he puts on his head and has the ability to pursue the parts of data which s/he finds interesting. It is interactive but the participant is not a player. In the discussion about the interactive storytelling, there have always been two philosophical attitudes: one is the user’ s freedom in choosing the closure of the story, and the other is proposing the possibility of interaction in a fake way. In this paper, the emphasis is on the latter. VR is is the outcome of digital media and it seems has inherited most of its features; one of them is the logic of database which offers all of the information to the participant and unlike cinema’ s use of montage, it doesn’ t prioritize between them, and with the freedom of 360 degrees, participants can pursue the scene in which the story occurs. The viewer, thus, and not the director, controls the camera (the eyes of the participant). This paper focuses on how this tool can be used to create narrative animations, something more than the current usage, and if narrative animation can be produced in the VR, then, comparing with the classic narrative formats like movies and known interactive formats like games, how much the participant and the author’ s share has been changed. With the presence of the participant in a narrative space, it is possible to produce a narrative animation in which the participant has an active role in creating narration without disturbing the author’ s work as a whole. Paying attention to similar topics in interactive storytelling and comparing narrative in film and play help identify more narratives in this form.

Depression is widely reported in patients with physical illness, but its prevalence varies in studiesand differs from one disease to another. In patients with depression, severity of symptoms may bedifferent in various medical conditions and responses to treatment. We aimed to systematically (a)compare the prevalence of depression between medical illness patients and mentally healthy subjects, (b)assess whether there is an independent association between medical illness and depression, (c) identifyassociated factors used in interventions (d) and review the relationship between depression and baselinedisease severity and treatment outcomes. We studied 24 researches that had examined medical illness and depression in Mazandaranprovince, Iran. The prevalence of possible depression in patients with physical illness ranged from 13. 1 to67. 4%, depending on diagnostic methods and sensitivity of various depression scales. Depression wasfound to have a negative influence on the outcomes of physical illness and treatment response. The significant outbreak of mental disorders, especially depression in patients with physicalillness, and the negative impact of mental disorders on the control and treatment of diseases call forregular psychiatric counseling.

Call of Duty is a popular first-person shooter (FPS) game. Call of Duty: Modern Warfare (2007) was the first game in the franchise which did not focus on the World Wars’ history. It was also the first Call of Duty which had a continuous interactive digital narrative (IDN). This article attempts to take a comparative approach to the game. As a cultural product, the game is susceptible to postcolonial and Orientalist discourses. This article attempts to apply Edward Wadie Said’s theories to Call of Duty: Modern Warfare in order to prove that the game’s IDN was shaped by postcolonialism and Orientalism. The game functioned as a cultural medium which disseminated Orientalist discourses amongst its player base. As such, this article tries to not only shed light upon a lesser-known aspect of Call of Duty: Modern Warfare but also to demonstrate that computer games are not exempt from external cultural forces.

Pastoral tales, as one of the most important type of oral texts, have intra-textual and extra-textual features related to the situational context of the text. Kurdish pastoral are an arena of confrontation for binary opposition the interpretation of which, at both linguistic and narrative levels, will reveal aspects of structural and semantic structure of the text. The present study has tried to study binary oppositions in Kurdish pastoral tales at both narrative and linguistic levels from a semiotic approach. To this end, ideas from linguists and cultural semioticians as well as structuralists’ views in the field of narration have been employed. The results of the research show that, in Kurdish pastoral tales, the hero on quest challenges oppositions and negative semantemes in order to reach the valuable object and the desired world. In this procedure, the hero considered as a cognitive agent and the self belonging to a culture, interacts with the ecosystem of "other" and "another." The hero then achieves the desired result in a process of “removing alterity”  or ”fighting against the other” Eventually, by rejecting the alien world and the undesirable other, he returns to his culture and the world in which peace and balance is restored.

In recent decades, computer games have become increasingly captivating to audiences, surpassing other platforms primarily due to their interactive nature. Paying attention to the entertainment dimension and as a result the lack of narration in most of these games has caused the issue of teaching lifestyle to children and teenagers to be neglected. The present article, focusing on the necessity of narration in the direction of culture formation and education for children and teenagers, has analyzed the native game " Biston Story " from the perspective of narratology of the contemporary theorist in the field of computer games " Marie-Lore Ryan ".    The main question of the research is what is the role of stories and narratives in creating culture and directing interactive computer games for children and teenagers. The method of the current research is descriptive-analytical and has been carried out with a developmental goal. On this basis, in order to answer the questions about the nature of narration in this game, attention has been paid to collecting information about the issue of narration in computer games, and the nine levels of narration in the computer game " Biston Story " have been analyzed in order to understand the role of the audience as an actor in the narration and Check the game guide using the colors. The results of the research show that despite the many advantages of interactive platforms in the field of children and teenagers, few researchers know about the important capabilities and advantages of using this media in order to induce and teach cultural values. The analysis of this game shows that the narrative in the final stage and the final fate of the game are made by the choices of the audience along the way of the game, and in this way, the audience has the role of the actor of the narrative and the guide of the game.

Letter To Editor

The purpose of this article is to explain the relationship between Islamic Fundamentalism and Modernity through ontological and philosophical point of view. It seems in the first look that they are contradictory but it is really not so, because both use the discourse method to prove their viewpoint. Modernity has negated the traditionalists and it’s related customs to proof itself and Islamic Fundamentalism has negated tyranny and colonialism. Both apply science and knowledge to expand their influence in all over the world. Both are accepting the Shariah and disregard Tarighat and essence of the religion.