Sorry for the extremely late post, I am in the middle of the week from hell. I also got a puppy!
Let the cuteness consume you!Okay, so here's the stuff you need for the past week's lecture:
Journal prompt: Spatial Storytelling: Find a short story or write one on your own. Describe the plot and describe what kind of game and space it could make. For the game, give a brief description of what kinds of mechanics could be implemented to be meaningful to the narrative. For the space, design it as though it had to match the events or emotional tone of your story. What kind of spaces can you create to guide an occupant through the narrative? How could your game design and your spatial design work together to create your story?
Since I am essentially writing this the day before it's due, you can have until Sunday to send it to me, but feel free to send it earlier if you can.
Here are the concepts from this lecture:
1. Narrative is another generator for either a game design or spatial design.
2. Mechanic vs. Motif - The idea that a game can be designed starting from either the game's core mechanic; with a narrative created for presentation purposes; or the narrative and expressive parts of a game; with mechanics designed to enhance the story.
3. Games designed with story first include games from the Final Fantasy series. Frank Lloyd Wright builds some houses beginning with narrative, such as how he built Fallingwater based on the client's family stories about the site.
4. Narrative space - A space that can "shape a narrative frame and experience." There are four types of narrative space:
6. Narrative descriptors - Any component of a game that participates in a game's "system of representation", such as instructional text, in-game cinematics, interface elements, game objects, and other visual or audio elements.
7. Rules must match the story so they can both contribute to meaningful play.
8. There are two types of narrative:
10. Reward of exposition - Narrative that is used as a reward or rest from intense action.
11. The hero myth is a precident for how materiality is used to tell a story. At the beginning of a story, the materiality is natural and perceived as "safe." As the hero moves to more and more dangerous territories, the materiality steadily becomes more bleak and unnatural, eventually becoming the materiality of "evil", with things such as fire, brimstone, and machines. This is embodied in stories such as The Lord of the Rings, and video games such as The Legend of Zelda, and even in Super Mario Bros. within each world.
12. The quality of a space can establish mood when used in a narrative space. Using the qualities of light, shadow, prospect and refuge, or size of spaces can set a safe or happy tone or a dark and unsafe tone based on how the qualities of these spaces are articulated.
Journal prompt: Spatial Storytelling: Find a short story or write one on your own. Describe the plot and describe what kind of game and space it could make. For the game, give a brief description of what kinds of mechanics could be implemented to be meaningful to the narrative. For the space, design it as though it had to match the events or emotional tone of your story. What kind of spaces can you create to guide an occupant through the narrative? How could your game design and your spatial design work together to create your story?
Since I am essentially writing this the day before it's due, you can have until Sunday to send it to me, but feel free to send it earlier if you can.
Here are the concepts from this lecture:
1. Narrative is another generator for either a game design or spatial design.
2. Mechanic vs. Motif - The idea that a game can be designed starting from either the game's core mechanic; with a narrative created for presentation purposes; or the narrative and expressive parts of a game; with mechanics designed to enhance the story.
3. Games designed with story first include games from the Final Fantasy series. Frank Lloyd Wright builds some houses beginning with narrative, such as how he built Fallingwater based on the client's family stories about the site.
4. Narrative space - A space that can "shape a narrative frame and experience." There are four types of narrative space:
- Evocative - Evokes preexisting narrative associations - using familiar imagery and settings
- Staging - Creating a space on which events are enacted - room type created for specific story events or encounters
- Embedded - Placing narrative within the scene - game world becomes an information space, or "memory palace." Parts of the space tell the story of what happened there.
- Providing resources - Putting the right pieces in place for emergent narrative
6. Narrative descriptors - Any component of a game that participates in a game's "system of representation", such as instructional text, in-game cinematics, interface elements, game objects, and other visual or audio elements.
7. Rules must match the story so they can both contribute to meaningful play.
8. There are two types of narrative:
- Embedded narrative - A pre-written story that is programmatically shown to a player or occupant within a narrative space.
- Emergent narrative - The narrative that comes from the player's interaction with a game. This is similar to thinking of a game as a book that is being written while the player plays, with the player's actions carrying out the action scenes and other parts of the story that they have control over.
10. Reward of exposition - Narrative that is used as a reward or rest from intense action.
11. The hero myth is a precident for how materiality is used to tell a story. At the beginning of a story, the materiality is natural and perceived as "safe." As the hero moves to more and more dangerous territories, the materiality steadily becomes more bleak and unnatural, eventually becoming the materiality of "evil", with things such as fire, brimstone, and machines. This is embodied in stories such as The Lord of the Rings, and video games such as The Legend of Zelda, and even in Super Mario Bros. within each world.
12. The quality of a space can establish mood when used in a narrative space. Using the qualities of light, shadow, prospect and refuge, or size of spaces can set a safe or happy tone or a dark and unsafe tone based on how the qualities of these spaces are articulated.
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