Regarding the article "A Circular Wall? Reformulating the Fourth Wall for Video Games"
http://www.gamasutra.com/view/feature/4086/a_circular_wall_reformulating_the_.php
I found this to be a very interesting article as the concept of expanding the 'magic circle' to encompass the player, is not usually thought about whilst playing a game. The relationship between the player and the game is a scary concept on the 21st Century, as we are growing up with a computer as one of our needs or closest and most entertaining friends. The knowledge that a computer, Mobile phone, television or game is always present and available for us to access has become somewhat of a comfort to us - I know many people who can't 'survive' or rather live contentedly even for a day without the Internet or a mobile phone. The fact that computer programs in the form of games are able to immerse us in a world of fantasy that allows us to escape the real world is a very seductive concept. Which is perhaps why gaming is such a big industry and is now progressing beyond simple controls, into the realm of multi-path games and physical interaction with the screen. Now days, sitting and pushing buttons to see the equivalent of a screenplay being acted out by cartoonised characters doesn't satisfy the majority of consumers. Hence the development of interactive stories and player-effected texts.
Wednesday, August 19, 2009
"First Draft" to Music
The following is what I typed as we listened to the experimental music track in class...
20/08/2009
Aaron the lonely boy from the edge of town is walking along the long path that leads through the old city. There has been l=no other sign of life for a long time since the soldiers came and ransacked the city, as Aaron and his family must scrounge for supplies when they can. Living on the edge of civilisation allowed them to live but now they can’t find any where else to go. He is often sent by his parents to find food in the old city as he can get into and out of places they can’t. he doesn’t like this part of town, and has often heard strange noises and voices on the wind. He thinks there may be ghosts left behind from all of the fighting and if he isn’t careful they may mistake him for one of the people that destroyed the town. This is no place for a 10 year old boy. Aaron tries to make his parents come with him, and wants to leave this place for good but they don’t know where else to go. It could be worse elsewhere. He reaches the city and peers upon the familiar sight of grey, dust and devastation, takes a deep breath in and makes his way down the escarpment into the city. The buildings are mostly crumbling or half destroyed, but still cast shadows along every road. The wind flurries and blows dust all around him as he walks carrying with it the voices of the past.
20/08/2009
Aaron the lonely boy from the edge of town is walking along the long path that leads through the old city. There has been l=no other sign of life for a long time since the soldiers came and ransacked the city, as Aaron and his family must scrounge for supplies when they can. Living on the edge of civilisation allowed them to live but now they can’t find any where else to go. He is often sent by his parents to find food in the old city as he can get into and out of places they can’t. he doesn’t like this part of town, and has often heard strange noises and voices on the wind. He thinks there may be ghosts left behind from all of the fighting and if he isn’t careful they may mistake him for one of the people that destroyed the town. This is no place for a 10 year old boy. Aaron tries to make his parents come with him, and wants to leave this place for good but they don’t know where else to go. It could be worse elsewhere. He reaches the city and peers upon the familiar sight of grey, dust and devastation, takes a deep breath in and makes his way down the escarpment into the city. The buildings are mostly crumbling or half destroyed, but still cast shadows along every road. The wind flurries and blows dust all around him as he walks carrying with it the voices of the past.
Wednesday, August 12, 2009
Gamedev Atricles
Adapting the Tools of Drama to Interactive Storytelling:
http://www.gamasutra.com/features/20010914/littlejohn_01.htm
This article is a great read as it discusses the current dilemma of having a compelling story and good characters within games, particularly action games. The author suggests "the reason for the action is more important than the action itself" which is a crucial element for game designers and writers to remember. In order for games to appeal to a wider audience, and keep their interest throughout the length of the game, the story and characters are even more important than the action. As the popular game Myst and its successors demonstrated, the story within games can create a whole world of possibility for players, and even make them thoroughly enjoy the four sequels to follow.
Elements of story such as suspense, conflict and emotion, are perhaps the most important part of games today, as players are looking for more than just the experience of taking out the bad guys and scoring points. The players involvement in the story and the emotional gratification received when an element of the story is completed, a character changes or an unexpected plot point arises, is what makes interactive games compelling and worth playing. Without these elements, many action and interactive games would not be as popular as they are today, thus another important point for scriptwriters and designers to acknowledge is that "a dramatic work...cannot survive without emotion."
Irreconcilable Differences: Game vs. Story:
http://www.gamedev.net/reference/articles/article887.asp
This article suggests that the elements of 'story' and of 'game' are structured opposites that require the player/audience to take on two contradicting states of mind, that is, that stories are pre-determined and games, like real life, are not pre-determined. As we can acknowledge that stories are planned, rigged experiences that we undertake to gain some sort of emotional satisfaction, and that games are apparently not pre-determined mediums for pleasure and entertainment, then the confusion of their combination becomes evident. In order to experience a game that is rich in both elements of story and unpredictable gaming, then the player/audience is subjected to a contradictary experience. The problem is, as suggested in the article, that when it comes to stories, "if we openly, consciously admit that it's all rigged, then it holds no emotional weight" and it is that emotional weight that makes the story believable and/or compelling in the first place. Therefore if that is lost, the story no longer holds our attention or seems worth our time.
The games that seem to "successfully blend narratives with interactive puzzles" are adventure games such as Myst and, as the article author suggests, "Riddle of Master Lu." These interactive games/stories are successful, due to their removal of unneccessary characters, complex plot lines and irrelevant action. By putting the player directly into the story and having them assume the main position within the plot, as the 'character' capable of influencing and altering the circumstances and story-line, the enigma of story Vs. game is dispersed. Hence why these games become some of the best and most popular so quickly.
http://www.gamasutra.com/features/20010914/littlejohn_01.htm
This article is a great read as it discusses the current dilemma of having a compelling story and good characters within games, particularly action games. The author suggests "the reason for the action is more important than the action itself" which is a crucial element for game designers and writers to remember. In order for games to appeal to a wider audience, and keep their interest throughout the length of the game, the story and characters are even more important than the action. As the popular game Myst and its successors demonstrated, the story within games can create a whole world of possibility for players, and even make them thoroughly enjoy the four sequels to follow.
Elements of story such as suspense, conflict and emotion, are perhaps the most important part of games today, as players are looking for more than just the experience of taking out the bad guys and scoring points. The players involvement in the story and the emotional gratification received when an element of the story is completed, a character changes or an unexpected plot point arises, is what makes interactive games compelling and worth playing. Without these elements, many action and interactive games would not be as popular as they are today, thus another important point for scriptwriters and designers to acknowledge is that "a dramatic work...cannot survive without emotion."
Irreconcilable Differences: Game vs. Story:
http://www.gamedev.net/reference/articles/article887.asp
This article suggests that the elements of 'story' and of 'game' are structured opposites that require the player/audience to take on two contradicting states of mind, that is, that stories are pre-determined and games, like real life, are not pre-determined. As we can acknowledge that stories are planned, rigged experiences that we undertake to gain some sort of emotional satisfaction, and that games are apparently not pre-determined mediums for pleasure and entertainment, then the confusion of their combination becomes evident. In order to experience a game that is rich in both elements of story and unpredictable gaming, then the player/audience is subjected to a contradictary experience. The problem is, as suggested in the article, that when it comes to stories, "if we openly, consciously admit that it's all rigged, then it holds no emotional weight" and it is that emotional weight that makes the story believable and/or compelling in the first place. Therefore if that is lost, the story no longer holds our attention or seems worth our time.
The games that seem to "successfully blend narratives with interactive puzzles" are adventure games such as Myst and, as the article author suggests, "Riddle of Master Lu." These interactive games/stories are successful, due to their removal of unneccessary characters, complex plot lines and irrelevant action. By putting the player directly into the story and having them assume the main position within the plot, as the 'character' capable of influencing and altering the circumstances and story-line, the enigma of story Vs. game is dispersed. Hence why these games become some of the best and most popular so quickly.
Wednesday, August 5, 2009
Characters...
1. "How are characters in films different to characters in games?"
Characters in films are generally much more developed than in games due to the fact that the story must keep an audience interested and entertained without the interaction factor. In games, part of the satisfaction comes from being a part of and completing the story, therefore the characters can sometimes take a backseat. In film however, the characters drive the story and must therefore reflect a part of their target audience as well as the flaws and issues present in society and subsequently make a statement or present a resolution to these issues in order to bring a sense of relief and assurance to the audience. Also, the characters drive the plot in film, while the player can sometimes affect or shape the plot in games and thus the characters of games must be flexible and able to react and change to the environment/circumstances the player is shaping. In films however, the characters must satisfy the audience by moving the plot along in the way that interests the target audience and assures they can relate to the decisions/reactions or the protagonist throughout the film.
2. "How are characters defined in Web 2.0 (our own avatars eg. here I’m “Objectman”)"
The way we present ourselves on the internet will always be a mediated, constructed and to a degree styalised version of our 'real' selves. Sites such as Facebook and Myspace, and avatars created on networking or interactive sites such as Second Life will usually be constructed of our best parts, most admirable qualities and aspirations/desires, thus presenting to the web and essentially to the world a romanticised view of ourselves. This elevates us above the 'norm' somehow making us better in the world of the web, and therefore satisfying our aim to be more than we already are. Avatars open up all sorts of posibilities in the realm of appearances, capabilities, social status, networking and to an arguable degree 'hapiness' as they enable any and everyone to create the 'perfect' version of themselves to present to the world. Even the most unsatisfied person can become a loved, followed, worshipped, admired digital 'representation' in a world without boundaries such as Second Life.
Characters in films are generally much more developed than in games due to the fact that the story must keep an audience interested and entertained without the interaction factor. In games, part of the satisfaction comes from being a part of and completing the story, therefore the characters can sometimes take a backseat. In film however, the characters drive the story and must therefore reflect a part of their target audience as well as the flaws and issues present in society and subsequently make a statement or present a resolution to these issues in order to bring a sense of relief and assurance to the audience. Also, the characters drive the plot in film, while the player can sometimes affect or shape the plot in games and thus the characters of games must be flexible and able to react and change to the environment/circumstances the player is shaping. In films however, the characters must satisfy the audience by moving the plot along in the way that interests the target audience and assures they can relate to the decisions/reactions or the protagonist throughout the film.
2. "How are characters defined in Web 2.0 (our own avatars eg. here I’m “Objectman”)"
The way we present ourselves on the internet will always be a mediated, constructed and to a degree styalised version of our 'real' selves. Sites such as Facebook and Myspace, and avatars created on networking or interactive sites such as Second Life will usually be constructed of our best parts, most admirable qualities and aspirations/desires, thus presenting to the web and essentially to the world a romanticised view of ourselves. This elevates us above the 'norm' somehow making us better in the world of the web, and therefore satisfying our aim to be more than we already are. Avatars open up all sorts of posibilities in the realm of appearances, capabilities, social status, networking and to an arguable degree 'hapiness' as they enable any and everyone to create the 'perfect' version of themselves to present to the world. Even the most unsatisfied person can become a loved, followed, worshipped, admired digital 'representation' in a world without boundaries such as Second Life.
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