Adapting folktales into interactive media has been explored in the game industry, and has encouraged game designers to examine how they can be meaningfully adapted for culture preservation. Such adaptations require not only thoughtful treatment and respect to the original source, but also consideration of the agency offered to the player by interactive media. Therefore, this paper will investigate how interactive storytelling utilizes the unique affordances of games to translate the authentic retelling of a Javanese folktale. To this end the study will implement an Interactive Digital Narrative framework whilst preserving the authenticity of the Javanese folktale by outlining the game design and narrative techniques of a prototypical game (Fragrant Water) as part of a practice-based research. The game discusses three key interactive design elements to enhance the folktale including: narrative pattern analysis, player agency for cultural authenticity, and player engagement beyond narrative progression. This creative practice research presents the notion that interactive media facilitates the natural malleability of traditionally retold stories by word of mouth. The work offers a design framework for game designers to adapt culturally rooted stories in digital games and contributes to ongoing discussions on how interactive media can support cultural continuity while innovating narrative forms.

Fragrant Water is based on a Javanese folktale called “Asal Usul Banyuwangi”, which is believed to be the origin story of the Banyuwangi town. Like most folktales, this story also exists in multiple versions circulated within society. Therefore, a narrative design treatment is needed to translate it into interactive media such as a game. During the preproduction of the game, the narrative for the game evolve from the original folktale, to several points of view.

• Player plays as a supporting character
• Player plays as a god character
• Player plays as one of the characters.

While playing as a supporting character can lead to interesting storylines, such as mystery-driven plots, playing as the god character provides players with a greater sense of control. However, the final version of the game places the player in the perspective of one of the main characters to evoke a stronger emotional response to the storyline.

This iteration of branching plotline is done in Twine, which allows the designer to see the flow of the plot line.

Background design plays a crucial role in interactive story games, particularly in Fragrant Water, as it is based on a specific region in Indonesia. While some of the forest scenes are not direct representations of the actual forests in East Java, they are intentionally designed to support the progression of the storyline.

The initial character design differed from the final version. The original concept was created by Reilivia, but due to time constraints, Lường Quý refined the design and produced the final character asset. This asset was later edited and rigged for the animated version used in the game.

There are two main sound category that is added to support the narrative progression of the game.

• Environment sound: ambience sound that changes depending on the location of the player
• Background music: melodic sound that changes depending on the location of the player

This project and research were undertaken as part of the Master of Animation, Games and Interactivity program at RMIT University. The development and research stages were supervised by Carlo Tolentino, Chris Barker, and Jeremy Parker. Special thanks are extended to Kate Cawley and Nicholas Kallincos for their constructive feedback on the visual development. Gratitude is also given to the MAGI cohort of 2025 for their support through feedback and playtesting. Additional thanks go to Luong Quy, Santino, Julian, and Sergio for their contributions to character and sound design during the development stage.

• Design & Development - Reilivia
• Character Design - Lường Quý
• Sound Design - juantrile (advisor), santino (background music) and sergio (environmental)