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.

storytelling has always been a joint activity between parents and children. It provides many educational benefits such as improving children's language fluency, communication skills, cultural and emotional awareness and other aspects of cognitive development. As a result, many parents, due to their busy schedules, express their desire to use an automatic storytelling system that can help their children to engage in a beneficial way without any intervention when they need to focus on other tasks such as attending a work meeting or household chores. The present study, by focusing on the interactive storytelling toy "StoryTick", analyzed the structure of this game and the extent of the child's involvement in creating the story, with a look at the theory of the reader within the text by Aidan Chambers, a theorist in the field of children's literature studies.

Background: storytelling is a powerful educational method that encourages reflection and deeper understanding of complex concepts. storytelling as a learner is commonly used in other disciplines, yet its application in medical education is limited. This study sought to evaluate the use of storytelling as a pedagogical approach in a workshop with medical students and assess its impact on students’ knowledge and attitudes towards core concepts of medical education. Methods: interactive workshops were implemented using a storytelling approach based on a fictional diary of a dental student. Participants engaged in story-based discussions in a book-club format, followed by introduction of the main educatio by the facilitator. A pre-post questionnaire was used to assess students’ knowledge and attitudes. Quantitative data were analyzed with paired t-tests, and Cronbach’s alpha was used to assess internal consistency. Participants’ open-ended feedback was reviewed thematically to better understand perceptions of students regarding the storytelling method. Results: Out of 80 participants, 76 finished the pre-and post-tests (95 percent response rate). Post-workshop scores showed notable improvements in knowledge (Mean±SD: 12. 9±2. 3 to 17. 8±1. 9,P<0. 001) and attitudes (Likert mean score: 3. 4±0. 6 to 4. 2±0. 5,P<0. 001). The internal consistency of the questionnaire was acceptable (Cronbach’s α=0. 82). participants gave positive comments, and emphasized how memorable and captivating the workshops were. Conclusion: storytelling is a powerful teaching method in medical education that can increase students’ emotional and cognitive engagement. It encourages reflection, active learning, and higher levels of learner satisfaction.

In the digital age, media plays a crucial role in shaping public opinion. With the increasing volume of information and fierce competition among media outlets, capturing audience attention and effectively conveying messages has become a significant challenge for journalists. interactive storytelling, as a novel approach in journalism, offers an engaging and effective way to communicate complex information by combining visual and interactive elements. This method facilitates better understanding of concepts and makes communication faster, more understandable, and enjoyable by creating rich and interactive experiences for the audience. Despite the importance of interactive storytelling, there have been limited quantitative studies on the effective interactive visual components in this type of storytelling and their impact on Iranian audiences. The "Snow Fall: The Avalanche at Tunnel Creek" report, as one of the most successful examples of interactive storytelling, can be a valuable case study for examining this topic. This research aims to identify and analyse innovative techniques of news storytelling and their application to enhance the style of news graphics in Iranian news agencies. In this regard, we seek answers to the following key questions: What is interactive news storytelling? How do interactive visual components function, and what advantages do they offer over traditional methods? What are the limitations and challenges of interactive storytelling, and how can we learn from the successful "Snow Fall" project to improve the quality of this type of storytelling in Iranian media? This research, which adopts a qualitative approach and is based on content analysis, has conducted an in-depth case study of the "Snow Fall" news project, carefully analysing its visual and structural components. Furthermore, a thorough literature review was conducted to compile a comprehensive understanding of the topic. The findings of this study suggest that scrollytelling is a form of journalistic storytelling that leverages visually engaging elements to create an immersive experience for the reader. The latest related research is presented as follows:-Sara Bahr in the paper titled 'Snow Fall at 10: How It Revolutionised Journalism' (2022), has examined the profound impact of this multimedia project on the world of journalism. She highlights the capabilities and awards earned by the team that implemented the Snow Fall report and provides details about how the team worked. According to the article, the Snow Fall project, through its innovative combination of text, video, interactive graphics, and animated simulations, presented a rich and engaging narrative of a news event and set new standards for multimedia journalism. The remarkable success of Snow Fall in attracting audiences and winning prestigious awards has inspired many journalists and news organisations to use these new methods in news storytelling. This article, as a valuable case study, helps researchers interested in examining the impact of technology on journalism to gain a deeper understanding of the transformations in this field.- Renée Van Der Nat and colleagues in the article titled "Snow Fall in the Polder: interactive Multimedia Productions in Dutch Journalism" (2021) examined interactive multimedia journalism in the Netherlands, focusing on digital long-form journalism and interactive documentaries. This research provides an overview of these types of productions created in the Netherlands and proposes an analytical and conceptual framework that encapsulates the core characteristics of this new genre: multimodality and interactivity. The analysis reveals that this form of journalism is primarily produced by established national newsrooms in the Netherlands. While complex narrative structures like multi-linear and non-linear stories are employed, familiar media forms are still prevalent. interactive features are mostly utilised to provide additional information to users, and the potential of digital media is showcased in a limited capacity. Despite investments in these productions, they often have a short online lifespan. Interaction plays a crucial role in increasing user engagement and facilitating a deeper storytelling experience within the realm of online journalism.-Svetlana Simakova In her article titled "Infographics as a Visual Language" (2019), examines and categorises infographics in news agencies based on their interaction and integration with multimedia content. She analyses two official Russian news agency websites, AIF.ru and RIA Novosti, to understand how infographics are used in journalistic content. This research identifies various types of infographics, including standalone interactive infographics, multi-part interactive infographics, and infographics as part of multimedia articles or long-form journalism (such as the Snow Fall report). This classification is effective in understanding how infographics contribute to storytelling and information dissemination in modern media.-Kobie van Krieken in the paper titled 'Multimedia storytelling in Journalism: Exploring Narrative Techniques in the Snow Fall Report' (2018), delves into the innovative use of multimedia storytelling techniques in journalism, with a particular focus on the highly acclaimed 'Snow Fall' report. She examines the narrative strategies employed in this report to enhance engagement and immerse the reader. By analysing the integration of multimedia components such as video, interactive graphics, and immersive storytelling, the article elucidates how modern journalism can push the boundaries of news narrative and captivate audiences through compelling stories. This exploration serves as a valuable resource for journalists, media professionals, and storytellers seeking to effectively utilise multimedia tools in their storytelling endeavorsResearch MethodThis research employs a qualitative approach and utilises content analysis to examine the news project known as "Snow Fall." Through this process, the visual and structural components of the project have been meticulously scrutinised and analysed. Additionally, information required for the research has been gathered by studying relevant books and articles on the subject.ConclusionThe "Snow Fall" report has set new standards in digital journalism by intelligently utilising visual elements such as colours, typography, and interactive media. Through dynamic interactions enabled by interactive elements and innovative techniques like deep scrolling, the report has elevated the reading experience to a whole new level. The combination of these visual elements with textual narrative has allowed the "Snow Fall" report to convey complex information to audiences in a more engaging and understandable manner, resulting in increased audience engagement and improved comprehension.The findings of this research indicate that interactive and data-driven narratives, especially scrollytelling, have the potential to revolutionise digital journalism. By employing these methods, journalists can go beyond simply presenting news and create rich, personalised experiences for their audiences. This not only leads to increased audience engagement with news but also helps build trust and enhance the credibility of media. Additionally, by using scrollytelling, journalists can present complex and multifaceted narratives in a way that is both engaging and understandable for general audiences.According to the findings of this research, the future of digital journalism will move towards interactive and data-driven narratives, and journalists must prepare themselves for this transformation. Through interactive methods, journalism has the potential to become an engaging and personalised experience where audiences act not only as consumers but also as participants in content production. This allows journalists to establish deeper connections with their audiences and be responsive to their needs. Furthermore, by using data collected from audience interactions with interactive narratives, journalists can gain a better understanding of their audience's interests and preferences and produce more targeted content. In a world where a vast amount of information is available, capturing the attention of audiences and making a difference in news presentation is of paramount importance. In this regard, interactive narratives, including scrollytelling, by creating rich and engaging experiences, have greatly helped the field of journalism to address the challenges of the information age and better convey its message to the audience amidst the abundance of information.With the advancement of new technologies, the future of scrollytelling also looks very promising. Technologies such as virtual reality (VR), augmented reality (AR), and artificial intelligence (AI) can significantly enrich the experience of interactive narratives. For example, using virtual reality capabilities, audiences can imagine themselves in the heart of the news and view events in360 degrees. Additionally, artificial intelligence can help further personalise narratives and create unique experiences for each audience member. Artificial intelligence has a key role in generating textual content, creating virtual characters, and even building virtual worlds for storytelling. This technology can help journalists present complex and data-driven narratives to audiences in a more engaging and optimized manner.However, the expansion of scrollytelling also comes with challenges. One of the most significant challenges is the high cost of producing interactive content. Designing and developing a complex interactive experience requires significant expertise and financial resources. Ensuring the compatibility of this type of content with various devices and browsers is also a technical challenge. In addition, measuring the effectiveness of scrollytelling and accurately assessing audience feedback remains an active area of research, and it is expected that this research gap will be investigated in future studies.In conclusion, the "Snow Fall" report, with its innovative approach and setting a new standard in digital journalism through the intelligent use of visual and interactive elements, has provided a rich and personalised experience for the audience. Given the success of "Snow Fall" in engaging and captivating the audience, the future of digital journalism is moving towards interactive and data-driven narratives. By using this approach, journalists can establish deeper connections with their audiences and be responsive to their needs. Additionally, this approach can help increase trust and credibility in media. It is advisable for Iranian journalists to be at the forefront of this transformation by studying, investing in training, utilising new tools, and collaborating with various experts, and to acquire a special position in the field of digital journalism. Keywords: Scrollytelling, News storytelling, Visual Elements, News Graphics, New York Times, Snow Fall

storytelling has always been a literary activity. Stories could not be separated from literature since both pay attention to the human language and his internal feelings. It is a difficult task to define the boundary and determine the history of this type of literature. There is also a strong relationship between religious contemplation and storytelling. Religious contemplation touches imagination and feelings and is thus related to symbolic stories. This happens in religious books including holy Quran. Mysticism also as the language and cover of Quran is related to storytelling as a symbol. Mewlana also has paid attention to the storytelling with his very especial point of view. In his point of view story is a trap for hunting the meaning. The present article studies the storytelling and its philosophy in Mewlana’s works.   French: Philosophie de la création du récit chez Molana   On ne peut pas séparer littérature et récit. Ce dernier est l’un des traits constitutifs de la littérature. Et tous deux évoquent le sentiment humain. Il est à souligner qu’il y a un étrange rapport entre le récit et la pensée religieuse. Celle-ci en s’occupant des concrets (pour transmettre des notions), établit un lien avec les récits symboliques.Cette tradition a ancré dans les livres religieux, notamment dans le Coran.Le mysticisme a également un rapport avec la création du récit chez Molana.Ce dernier, en tant qu’un mystique a jeté un regard particulier sur le récit. Selon lui, le récit n’est qu’un piège pour chasser le sens.Dans cet article, nous nous intéresserons donc à étudier la philosophie du récit à travers les pensées de Molana.keywords: récit, littérature, mysticisme, Molana   German: Molanas-philosophische Erzahlungen   Die Erzalungen waren immer ein Teil der Literatur. Die beide sind zusammen gewachen, weil die beide an die menschliche Seele und Sprache polieren und sie von einandern trennen, ist sehr schwer.Anderseits gibt es zwischen den religiosen Gedanken und Erzahlungen eine merkwürdige Verbindung. Die religiose Gedanken konnen durch greifbare Objekten und Voraussetzungen ihre Bedeutung hinüberbringen. Und gerade deswegen sind mit Symboliken oder nicht Symbolliken Erzahlungen verbunden.Diese Tradition festigt sich im Koran. Aus der Gnosis flieben auch viele Symbole, die mit den Erzahlungen in Verbindung sind.Molana richtet seine Aufmerksamkeit auf die Katagorie “Erzahlung”.Seine Meinung nach, eine Erzahlung ist eine Falle, durch sie man die Bedeutung erkennen kann.In diesem Artikel wird die Geschichten und ihre Philosophie in den Molanasgedanken überprüft.keywords: Geschichte, Literatur, Gnosis, Molana   Italian: La filosofia de los cuentos de Mulana   Escribir los cuentos siempre ha sido una parte de la literatura. El cuento es la parte inseparable de la literatura. Ambos se refieren a la lengua y el sentimiento interno del ser humano. Es dificil definir una fecha y un limite para este tipo de literatura. Por otra parte, hay una relacion entre el pensamiento religioso y los cuentos. El pensamiento religioso refiere a los sentimientos e imaginaciones para transmitir los significados ocultos, asi se relaciona con los cuentos simbolicos y no simbolicos. Esta tradicion ha entrado en los libros sagrados como Coran. El gnostico como lengua de Coran, tiene relacion con los cuentos y lleva muchos secretos. Mulana como graduado de esta escuela y como un aprendiz ingenioso tiene una vision especial del relato. Este articulo es un estudio sobre el cuento y su filosofia en el pensamiento de Mulana.Keywords: cuento, literatura, gnostico, Mulana   Spanish: La Filosofia narrativa di Molana   La narrazione e’ sempre stato un gran parte della letteratura. Non si puo’ separarlo dalla letteratura, perche’ tutte e due si trattano della lingua e l’emozione dell’uomo. Sarebbe molto difficile considerare un limite special e determinare la storia cosi’ letteraria. Da una parte, esiste un rapporto strano tra il pensiero religioso e la narrazione. Il pensiero religioso ricorre ai sentimenti ed immagini per trasferire I documenti e significati, per questo si college con le storie, sia simbolica che non simbolica. Il Gnoticismo anche come una lingua e una vela del Qurano, e’ collegato con la narrazione come un simbolo con cui stillano I simboli ed I segreti. Molana con il suo sguardo speciale nota al racconto come un laureato di questa dottrina ed anche il piu’ intelligente studente di questa cultura. Il racconto e’ una trappola dal suo punto di vista soltanto per cacciare il significato e quest’articolo revisiona il racconto e la sua filosofia nel pensiero di Molana.keywords: Racconto, Letteratura, Gnoticismo, Molana

Iran is considered one of the ancient and civilized countries of the world, with a culture and civilization that has persisted for thousands of years without collapse. Written storytelling is one of the defining features of ancient civilizations, with its origins in Iran dating back approximately three thousand years. This article examines storytelling models in classical Persian literature. The common narrative methods in classical Persian literature can be categorized into five models: the repetitive model, the pearl beads on a plate model, the string of pearls (pearl necklace) model, the cluster of grapes model, and the grand narratives containing smaller stories model. It should be noted that the diversity of these methods is closely linked to the customs, traditions, and tastes of ancient Iranian society. Traces of these storytelling techniques can be observed in classical Persian literature until the twentieth century. However, after this period, influenced by contemporary European literature, these models gradually faded and disappeared from contemporary Persian literature.

In 1339 Sh. /1960, a book titled Koliyat-e Shahname-ye Hakim Abulqasem Ferdowsi (Collection of Hakim Abulqasem Ferdowsi’s Book of Kings) in Turkish prose, was published in Tabriz. Despite its Persian title, the book is neither a translation nor a rewriting of the Shahname. In fact, it is a scroll of storytelling (naqqali) of which two stories were compiled or written in Persian, 1039 A.H./1726, and translated into Turkish in 1164 A.H./1751. Evidence indicates that the transference and compilation of a portion of the accounts in this book dates back to the Safavid and Afsharid periods. The narrative contents of this scroll comprise Gayumart up to the Arscacid time with two stories from the Sassanian era. Since the scroll has addressed Alexander’s accounts in relatively extensive detail, it is already the most comprehensive scroll ever known. In the text of this Turkish scroll, certain lexical points and narrative matters can be seen. In the present article, the lexical questions of the scroll are examined and its narratory considerations will be dealt with in a separate study.