多视点叙事是现代主义、后现代主义文学、电影中常用的叙事策略，通过对同一问题进行多角度的侧写、融合多元价值，有极高的辩证美感和哲学价值，但阅读、观看体验上较为晦涩，容易迷失，缺乏代入感。互动叙事游戏化的形式则能降低阅读难度，增添阅读动力。但现有的大部分互动叙事作品仍旧以玩家自己的视点为中心展开，故事背景较为简单传统，常缺乏剧情上的深度。本研究通过文学、叙事学、游戏、心理学等多领域的理论交叉研究、结合案例分析比对，总结了互动叙事与多视点故事融合的引发的叙事结构变化，指出了困难所在，并提出了多视点互动叙事设计方案：即以角色扮演和视角跳转为基础框架，通过外化心理动力将视角的迁移合理化，并以互动和画面设计上的多风格辅助多视角表达，提供持续的阅读动力。在具体的表现形式上，本研究对互动漫画进行了进一步探讨，结合交互设计原则和实际案例，从简单易用、传递情绪、增强沉浸的角度分析了设计策略。研究最后通过互动漫画作品《雪山，神山》进行了设计实践验证。作品包含双角色四视点，视点间可相互跳转，形成环形跳转结构，读者可从任意视点开始扮演，并跳转至全部的故事。不同视点以不同的互动反馈和色彩画面风格区分，制造了多元立体的互动阅读体验。

When a story contains multiple perspectives and values, it will become more difficult in reading, interactive narrative may solve this problem. Through the cross study of literature, narratology, games theory and psychology, combined with case analysis, this study summarized several narrative structures when interactive narrative meets multiple perspectives, and pointed out the positive and negative sides of interaction. This paper put forward a design scheme based on role-playing and jumps between perspectives. Besides, the design strategy of interactive comics was put forward.With the game "snowy mountain, fairy mountain" designed as practice, which contains two roles and four perspectives, I made an circular structure. The four perspectives can jump to each other, which means players can start from any perspective and then jump to the whole story. Different perspectives are distinguished by different interactive feedback and visual styles, creating a new interactive reading experience.