• Home
  • Blog
  • Gallery
  • Pricing
  • Home
  • Blog
  • Gallery
  • Pricing
Start creating

Create.Play.

Creator blog

Home/Blog/Interactive narrative

How to Design Interaction for a Fictional Hearing: Let Players Distinguish Testimony, Claims, and Evidence

To make the interaction of a fictional hearing revolve around argumentation, you can first distinguish testimony, claims, and evidence, then design source questioning, alternative explanations, and acknowledgment of insufficiency. This way players can compare why materials support or fail to support a certain conclusion. Below, The Bell Tower Repair Hearing is used to demonstrate; this is a teaching example of an架空 social drama and has nothing to do with real legal procedures.

D
DramaFork Editorial TeamInteractive storytelling and AI production
2026.09.16Estimated reading time: 12 min
In a fictional hearing room, both sides check the evidentiary scope of the same damaged record.
Article contents
Creator blog
  1. 01Introduction
  2. 02First Distinguish the Three Layers of Material
  3. 03Two Rounds of Examination, Each Round Does Only One Thing
  4. 04Let the Verdict Read Only Materials That Have Appeared
  5. 05Completion Check
Back to article top

Introduction

To make the interaction of a fictional hearing revolve around argumentation, you can first distinguish testimony, claims, and evidence, then design source questioning, alternative explanations, and acknowledgment of insufficiency. This way players can compare why materials support or fail to support a certain conclusion. Below, The Bell Tower Repair Hearing is used to demonstrate; this is a teaching example of an架空 social drama and has nothing to do with real legal procedures.

First Distinguish the Three Layers of Material

Testimony is what a person says out loud, a claim is a conclusion that one party hopes will be adopted, and evidence is something that can be repeatedly examined independently of the speaker. If the three are mixed together, players can only judge who is more credible based on tone.

The Bell Tower Repair Hearing is set in the fictional city-state "Grey Harbor," where cracks appear in the bell tower during the rainy season. The three materials are as follows, all fictional teaching examples:

Material Type Key Content Known Limitations
Testimony of stonemason Lorn Testimony Says the crack appeared in March, and that he only did outer-wall patching He did not enter the inner shaft and could only see the outer wall
Remaining pages of the repair ledger Evidence Records two expenditures for "inner shaft timber supports," dates blurry Pages missing, handler's signature covered by water stains
Claim of bell keeper Miya Claim Claims the crack was caused by vibrations last winter She was outside the tower that night and did not record the time of the vibrations

Note that Miya's passage is a claim, not evidence. If players treat her status as authority, they will skip questioning.

Two Rounds of Examination, Each Round Does Only One Thing

The first round asks about source: where did this sentence come from, who had the opportunity to see it, and where was it recorded. The second round asks about alternative explanations: what other statements can the same material also support. During the examination, characters should actively acknowledge the parts they cannot see, rather than hiding gaps in the material inside a conclusion.

Reusable examination template:

  1. Did you see it with your own eyes, or did you hear it repeated by someone else?
  2. Who wrote this record, and which level was he on at the time?
  3. Besides your explanation, what else can this material show?
  4. Is there any part you cannot confirm?

Corresponding two-round dialogue examples for The Bell Tower Repair Hearing:

First Round (Source)

Player: Lorn, you say the crack appeared in March. Did you see it with your own eyes? Lorn: I saw it the day I patched the outer wall. I did not go into the inner shaft; that was the timber support workers' business. Player: Do you know who handled the "inner shaft timber supports" in the ledger? Lorn: No. I only know that the outer-wall plaster was mixed by me.

Second Round (Alternative Explanation)

Player: Miya, the remaining ledger pages can also show that someone entered the inner shaft before March. Does your vibration claim still hold? Miya: I admit the part that does not hold—I did not record the time of the vibrations. But the remaining pages cannot prove the timber supports were done in March; the date is covered by water stains. Player: So you are making a claim, not giving testimony. Miya: Right, this is my claim, not something I saw.

What Miya admits here is "I did not record it," which is the character's self-correction, not a new world fact. The limitation that the ledger date is blurry does not change from beginning to end, and players cannot make it become clear by questioning.

Let the Verdict Read Only Materials That Have Appeared

The closing text should not write "truth," but "basis." The same batch of materials can lead to two closings with different reasons, depending on how far the player has questioned.

Closing A (the player questioned the source but did not question alternative explanations):

Adopt Lorn's outer-wall testimony and the remaining ledger pages. Determine that the crack appeared no later than March, and that the handler of the inner shaft timber supports is unknown. Miya's vibration claim is not adopted due to the lack of a time record.

Closing B (the player questioned alternative explanations):

Adopt Lorn's outer-wall testimony. The date on the remaining ledger pages is unclear, insufficient to determine the time of the timber supports. Miya's vibration claim and the remaining pages can coexist, but neither has an independent time record, and the verdict makes no determination on the cause of the crack.

Both closings can only cite materials that have appeared. The blurry ledger date is a limitation players can see when they open the remaining pages, and no route can ignore it. The questioning path can change which arguments players focus on checking, and how the closing states its reasons; it cannot make known limitations disappear out of thin air. If characters provide only vague materials, uncertain conclusions should be preserved, and a definite truth must not be manufactured just to reward asking one more question.

Completion Check

After writing a hearing, use this table for self-check:

Check Item Passing Standard
Material layering Each material can be marked as testimony, claim, or evidence
Source can be asked Players can ask "who saw it, who recorded it, on which level"
Alternative explanations At least one material can be shared by two accounts
Acknowledgment of insufficiency At least one character actively states the part he or she cannot see
Verdict basis The closing text cites only materials that have appeared and adds no new facts
Limitations unchanged Limitations such as blurry dates and missing pages are not eliminated by questioning throughout

If a material serves as both evidence and claim, split it first; if a round of examination can only ask "are you sure," it means the source information has not been laid out enough. When AI-generated character responses are involved, prompt constraints do not guarantee that every output will uphold these limitations, and manual checking is needed to see whether the response adds past events that were not provided.

Next step: pick a hearing you are writing, relist the existing materials according to the three layers, delete all sentences that cannot be categorized, and then write two closings that cite only the listed materials.

Explore product capabilities Play interactive stories

Continue reading

Browse more articles
A sealed letter waits between a resident's hand, a neighbor's door, and a return box.
Interactive narrative2026.09.19 · 18 min

How a Letter That Should Not Be Opened Becomes a Choice: Knowledge, Responsibility, and Relationship Each Settle Consequences Separately

Writing "should it be opened" as a choice depends not on what is written in the letter, but on which clues the author has already placed on the table before the player acts. Players can only act on clues they have seen, so relationship costs must be planted before the letter is opened: which words are visible on the envelope, who has handled the letter, and what the recipient has said before. Below, a fictional teaching example, "Letter from the Old Address," illustrates a repeatable approach. The characters, numbers, and quoted words in the example are fictional and are not test data.

Adult festival organizers inspect a displaced lantern and a loose fastening behind an empty stage.
Interactive narrative2026.09.19 · 15 min

How to Write Lightweight Mysteries for Festival Deduction: First Let Players Know How the Festival Normally Works

First write clearly the festival's "normal day," then let the anomaly appear. Only when players know how the handover, lantern lighting, parade, and lantern collection originally proceed can they judge which step is wrong. Otherwise every unfamiliar custom looks like a clue, and deduction turns into guessing the author's mind.

A museum curator chooses among display platform heights, visitor sightlines, and exhibit context.
Interactive narrative2026.09.19 · 15 min

Museum Curation Can Branch Too: Let Exhibit Trade-offs Reflect Narrative Stance

Write curation as a value choice: first compress the number of display cases until it is clearly insufficient, then let each exhibit carry a piece of irreplaceable information. If the player chooses two, they must give up the third; the abandoned one does not disappear, but remains in the gallery as a "missing description," reminding visitors what was originally here. The choice therefore changes what past the audience can piece together, not just how many points they get.

Let agents handle production complexity while you keep creative control.

Start with one story idea, then shape scripts, characters, shots, and branches into a playable first version.

Product

  • Pricing
  • Capabilities
  • Workflow
  • Examples
  • FAQ

Explore

  • Playable gallery
  • Creator blog
  • Creator partnership

Legal

  • Privacy
  • Terms
© 2026 DramaFork/AI interactive story studio
Press Enter to send, or drag away and release.