An interesting, if short, article on the nature of gaming.
Nokia - Games Without Frontiers
Thursday, November 20, 2003
Sunday, November 02, 2003
BBC NEWS | Technology | French gamers get a helping hand
France offers a possile solution for independent developers.
France offers a possile solution for independent developers.
Wednesday, October 29, 2003
BBC NEWS | Technology | Nokia targets multimedia mobiles
A pathfinding article on Nokia's multiple media innovations.
A pathfinding article on Nokia's multiple media innovations.
Gamasutra - Features - "Agitating for Dramatic Change"
The second of two articles by Littlejohn. Again, quite interesting at first glance but more in-depth analysis is forthcoming.
The second of two articles by Littlejohn. Again, quite interesting at first glance but more in-depth analysis is forthcoming.
Gamasutra - Features - "The Need to Adapt the Tools of Drama to Interactive Storytelling" [09.14.01]
The first of two truly interesting articles by Randy LittleJohh. I've only scanned them so far but will offer a more detailed analysis anon.
The first of two truly interesting articles by Randy LittleJohh. I've only scanned them so far but will offer a more detailed analysis anon.
Saturday, September 20, 2003
Another Option for Final Presentations
In the interests of encouraging cross-media collaboration within the school, I am happy to offer six (6) slots for students taking my Non-Linear Media class who wish to work with advanced writing students taking my Writing for Multimedia course.
The proposition is that you will join a team of three writers working on content for a given media channel (games, wireless, online). Your mission, should you choose to accept it, is to act as the technical consulant on the team, giving guidance in terms of the nitty gritty end of technology. The final product will be a wireframe prototype of an interactive application for delivering content.
Interested? Then e-mail me at matt@vfs.com.
That is all.
In the interests of encouraging cross-media collaboration within the school, I am happy to offer six (6) slots for students taking my Non-Linear Media class who wish to work with advanced writing students taking my Writing for Multimedia course.
The proposition is that you will join a team of three writers working on content for a given media channel (games, wireless, online). Your mission, should you choose to accept it, is to act as the technical consulant on the team, giving guidance in terms of the nitty gritty end of technology. The final product will be a wireframe prototype of an interactive application for delivering content.
Interested? Then e-mail me at matt@vfs.com.
That is all.
Reminder: your homework assignment for this week is to apply the Hero's Journey to any movie that you like. Please TYPE this up for submission. The basic steps are below. Also, don't forget to read the article from Creative Screenwriting.
The Hero's Journey
Ordinary World
Call to Adventure
Refusal of the Call
Meeting with the Mentor
Crossing the First Threshold
Tests, Allies, Enemies
Approach to the Innermost Cave
Ordeal
Reward (seizing the sword)
The Road Back
Resurrection
Return with the Elixir
The Hero's Journey
Ordinary World
Call to Adventure
Refusal of the Call
Meeting with the Mentor
Crossing the First Threshold
Tests, Allies, Enemies
Approach to the Innermost Cave
Ordeal
Reward (seizing the sword)
The Road Back
Resurrection
Return with the Elixir
Wednesday, September 17, 2003
BBC NEWS | Technology | Games seek to bond with players
Interesting perspective on how to engage an audience.
Interesting perspective on how to engage an audience.
Tuesday, September 09, 2003
A new class, a new beginnning....
Course Outline
WEEK 1: Overview of Interactivity
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This class is about information overload.
Topics:
* Course objectives
* State of the Union - State of the Industry
* Analog interactivity
* Simple interactive forms
* The cinematics of interaction
* The atypical
Assignments:
* "Adopt-a-Nerd?¨
* Read McLuhan ?V is the medium the message?
* Read MIT article on transmedia storytelling
WEEK 2: The Illustrated Vogler - Linear Story Forms
Based on Joseph Campbell's mono-myth cycle, Christopher Vogler's theory of story telling structure has become pivotal in contemporary screenwriting circles. Inspiring such films as Star Wars, Vogler's work has application to more than just the film world - his discussion of how character drives story has relevance to emerging interactive forms.
Topics:
* Discussion of Vogler's model
* Examples of and illustrations for each step
* Translation to the interactive form - does it work?
Assignments:
* Apply Vogler's theory to an interactive game
* Read Creative Screenwriting handout
WEEK 3: Variations in Story Structure - NonLinearity
To understand interaction, one must add a Z axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level. Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling.
Topics:
* Five ways of looking at storytelling structures
* Examination of various interactive models
* Consideration of software ?V StorySpace, Inxight and the Brain
* Screening of / Participation in ?§Point of View?¨
Assignment:
* Prepare sample videogame script
WEEK 4: Interaction in Action
Recently, increased attention has been devoted to transmedia properties ?V those stories, concepts or characters that live equally online or offline, as either analog or digital creations. In many ways, such properties are the Holy Grail of convergence, representing the best chance for successful - and profitable - collaboration between technologists and filmmakers. This class will focus on the characteristics of such properties and how they have been successfully realized. Or not.
Topics:
* Review of interactive principles
* Discussion of transmedia properties
* Screening of Run Lola Run
* In-class unpacking exercise
Assignment:
* Visual models - what is a Moebius strip? Trajan?¦s column? The Bayeux Tapestry?
WEEK 5: Collaborative Storytelling
One of the challenges of interactive narrative is involving the audience in the experience without sacrificing the thrust of the narrative. While there have been some signature successes, few technology-driven forms have been able to surpass the success of the classical oral storyteller. The chief limit of the technical form has been the 3 x-1 rule. How do we bound our worlds such that narrative consistency isn't compromised but audience participation is maximized?
Topics:
* Quick analog to digital survey of story collaboration
* In-class storytelling collaboration
* Screening of P.o.V.
Assignment:
* Survey and submit favorite interactive properties
WEEK 6: Audience? User? Participant?
Crucial to our understanding of interactivity is an appreciation of the audience experience. As one moves from 12 yards to 12 feet to 12 inches away from the screen, everything changes. The key to unlocking this puzzle oftentimes lies in the author's selection of interactive assets from the wide variety of media available.
This class will examine the basic elements that make up an interactive property. Discussion will focus on how their use can involve or alienate an audience/user/participant and how this resonance can be used to good effect.
Topics:
* Information architecture
* Master metaphor
* Visual narrative
* Layering media elements
* Interaction as a prop for cinema
Assignment:
* Easter Egg Hunt
* Move to complete final projects
WEEK 7: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students' projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me -- it'll be fun.
* Peer review of projects
* Discussion of results
* Course evaluation
Course Outline
WEEK 1: Overview of Interactivity
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This class is about information overload.
Topics:
* Course objectives
* State of the Union - State of the Industry
* Analog interactivity
* Simple interactive forms
* The cinematics of interaction
* The atypical
Assignments:
* "Adopt-a-Nerd?¨
* Read McLuhan ?V is the medium the message?
* Read MIT article on transmedia storytelling
WEEK 2: The Illustrated Vogler - Linear Story Forms
Based on Joseph Campbell's mono-myth cycle, Christopher Vogler's theory of story telling structure has become pivotal in contemporary screenwriting circles. Inspiring such films as Star Wars, Vogler's work has application to more than just the film world - his discussion of how character drives story has relevance to emerging interactive forms.
Topics:
* Discussion of Vogler's model
* Examples of and illustrations for each step
* Translation to the interactive form - does it work?
Assignments:
* Apply Vogler's theory to an interactive game
* Read Creative Screenwriting handout
WEEK 3: Variations in Story Structure - NonLinearity
To understand interaction, one must add a Z axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level. Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling.
Topics:
* Five ways of looking at storytelling structures
* Examination of various interactive models
* Consideration of software ?V StorySpace, Inxight and the Brain
* Screening of / Participation in ?§Point of View?¨
Assignment:
* Prepare sample videogame script
WEEK 4: Interaction in Action
Recently, increased attention has been devoted to transmedia properties ?V those stories, concepts or characters that live equally online or offline, as either analog or digital creations. In many ways, such properties are the Holy Grail of convergence, representing the best chance for successful - and profitable - collaboration between technologists and filmmakers. This class will focus on the characteristics of such properties and how they have been successfully realized. Or not.
Topics:
* Review of interactive principles
* Discussion of transmedia properties
* Screening of Run Lola Run
* In-class unpacking exercise
Assignment:
* Visual models - what is a Moebius strip? Trajan?¦s column? The Bayeux Tapestry?
WEEK 5: Collaborative Storytelling
One of the challenges of interactive narrative is involving the audience in the experience without sacrificing the thrust of the narrative. While there have been some signature successes, few technology-driven forms have been able to surpass the success of the classical oral storyteller. The chief limit of the technical form has been the 3 x-1 rule. How do we bound our worlds such that narrative consistency isn't compromised but audience participation is maximized?
Topics:
* Quick analog to digital survey of story collaboration
* In-class storytelling collaboration
* Screening of P.o.V.
Assignment:
* Survey and submit favorite interactive properties
WEEK 6: Audience? User? Participant?
Crucial to our understanding of interactivity is an appreciation of the audience experience. As one moves from 12 yards to 12 feet to 12 inches away from the screen, everything changes. The key to unlocking this puzzle oftentimes lies in the author's selection of interactive assets from the wide variety of media available.
This class will examine the basic elements that make up an interactive property. Discussion will focus on how their use can involve or alienate an audience/user/participant and how this resonance can be used to good effect.
Topics:
* Information architecture
* Master metaphor
* Visual narrative
* Layering media elements
* Interaction as a prop for cinema
Assignment:
* Easter Egg Hunt
* Move to complete final projects
WEEK 7: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students' projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me -- it'll be fun.
* Peer review of projects
* Discussion of results
* Course evaluation
Thursday, August 28, 2003
Thursday, August 07, 2003
BBC NEWS | Entertainment | Animators turns to video games
Now THIS is interesting - remind me to tell you about machinima.
Now THIS is interesting - remind me to tell you about machinima.
Wednesday, August 06, 2003
INTERACTIVE MEDIA
WEEK 1: Overview of Interactivity
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This information overload will open students minds to the possibilities presented by these new story forms.
Topics:
Course objectives
State of the Union - State of the Industry
Analog interactivity
Simple interactive forms
The cinematics of interaction
The atypical
Assignments:
Adopt-a-Nerd
Read McLuhan: Understanding Media - is the medium the message?
Read MIT article on Transmedia Storytelling
Read Creative Screenwriting article
WEEK 2: Variations in Story Structure
To understand interaction, one must add a Z axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level. Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling.
Topics:
Five ways of looking at storytelling structures
Examination of various interactive models
Consideration of software - StorySpace, Inxight and the Brain
Screening of / Participation in "Point of View"
Assignment:
Prepare sample videogame script
WEEK 3: Interaction in Action
Recently, increased attention has been devoted to transmedia properties - those stories, concepts or characters that live equally online or offline, as either analog or digital creations. In many ways, such properties are the Holy Grail of convergence, representing the best chance for successful - and profitable - collaboration between technologists and filmmakers. This class will focus on the characteristics of such properties and how they have been successfully realized. Or not.
Topics:
Review of interactive principles
Discussion of transmedia properties
Screening of Run Lola Run
In-class unpacking exercise
Assignment:
Visual models - what is a Moebius strip? Trajan's column? The Bayeux Tapestry?
WEEK 4: Collaborative Storytelling
One of the challenges of interactive narrative is involving the audience in the experience without sacrificing the thrust of the narrative. While there have been some signature successes, few technology-driven forms have been able to surpass the success of the classical oral storyteller. The chief limit of the technical form has been the 3 x-1 rule. How do we bound our worlds such that narrative consistency isn't compromised but audience participation is maximized?
WEEK 5: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students' projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me - it'll be fun.
Peer review of projects
Discussion of results
WEEK 1: Overview of Interactivity
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This information overload will open students minds to the possibilities presented by these new story forms.
Topics:
Course objectives
State of the Union - State of the Industry
Analog interactivity
Simple interactive forms
The cinematics of interaction
The atypical
Assignments:
Adopt-a-Nerd
Read McLuhan: Understanding Media - is the medium the message?
Read MIT article on Transmedia Storytelling
Read Creative Screenwriting article
WEEK 2: Variations in Story Structure
To understand interaction, one must add a Z axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level. Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling.
Topics:
Five ways of looking at storytelling structures
Examination of various interactive models
Consideration of software - StorySpace, Inxight and the Brain
Screening of / Participation in "Point of View"
Assignment:
Prepare sample videogame script
WEEK 3: Interaction in Action
Recently, increased attention has been devoted to transmedia properties - those stories, concepts or characters that live equally online or offline, as either analog or digital creations. In many ways, such properties are the Holy Grail of convergence, representing the best chance for successful - and profitable - collaboration between technologists and filmmakers. This class will focus on the characteristics of such properties and how they have been successfully realized. Or not.
Topics:
Review of interactive principles
Discussion of transmedia properties
Screening of Run Lola Run
In-class unpacking exercise
Assignment:
Visual models - what is a Moebius strip? Trajan's column? The Bayeux Tapestry?
WEEK 4: Collaborative Storytelling
One of the challenges of interactive narrative is involving the audience in the experience without sacrificing the thrust of the narrative. While there have been some signature successes, few technology-driven forms have been able to surpass the success of the classical oral storyteller. The chief limit of the technical form has been the 3 x-1 rule. How do we bound our worlds such that narrative consistency isn't compromised but audience participation is maximized?
WEEK 5: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students' projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me - it'll be fun.
Peer review of projects
Discussion of results
Monday, June 16, 2003
Monday, June 02, 2003
STORY ONE
Telephone call from Manni
Lola’s story – why she was late
Manni’s story – how he lost the money
The stakes – what will happen to him
Higher stakes – his plan to rob the store
Lola’s decision – she will ask father for money
She leaves past animated punk and dog
Baby lady montage one - kidnapper
Mistress situation
Nun parade
Bicyclist – beaten up
Mr. Meyer hits car
Manni and blind woman
Lola passes bum
Mistress - revelation
Lola arrives at bank
Mrs. Jager – suicide
Lola confronts Dad
His decision – “no”
Cuckoo’s nest revelation
Lola leaves bank
Old lady asks time
Manni out of options
Ambulance almost hits glass
Lola is late – Manni goes in
Stick up - they join forces
Lola learns about guns
They escape
Cornered by police
Lola is shot
INTERLUDE
STORY TWO
Lola leaves and trips
Baby lady – wins lottery
Nun parade with sunglasses
Bicyclist - junkie
Meyer hits BMW
Mistress situation / revelation
Lola passes bum
Lola arrives at the Bank
Confrontation with her father
His answer - “no”
Lola takes gun
Takes her Dad hostage
Lola now understands gun
Mrs. Jager – S&M
Lola gets money from cambio
She exits bank, loses gun
Confronted by German army – gets free
Meets old lady and asks time
Manni decides to go in
Ambulance hits glass
Lola arrives and stops Manni
Manni hit by ambulance
INTERLUDE
STORY THREE
Lola leaves – vaults over dog
Baby lady – born again
Nun parade - dodges
Bicyclist - diverts
Biker meets bum and sells him bike
Meyer meets Lola, misses BMW
Lola does not meet bum , bum now on bike
Mistress situation
Meyer arrives, Dad leaves, Lola arrives late
Manni and blind woman
Manni chases after bum
Car accident with Meyer, Dad, BMW and scooter thief
Lola arrives at casino
Lola gets money and somehow gets in
She bets on number 20 – wins
She is asked to leave but stays
She bets on 20 again, screams, wins
Manni chases down bum and gets money back
Lola gets in ambulance – saves guard
Lola arrives with money
Manni arrives alive
Happy ending
Telephone call from Manni
Lola’s story – why she was late
Manni’s story – how he lost the money
The stakes – what will happen to him
Higher stakes – his plan to rob the store
Lola’s decision – she will ask father for money
She leaves past animated punk and dog
Baby lady montage one - kidnapper
Mistress situation
Nun parade
Bicyclist – beaten up
Mr. Meyer hits car
Manni and blind woman
Lola passes bum
Mistress - revelation
Lola arrives at bank
Mrs. Jager – suicide
Lola confronts Dad
His decision – “no”
Cuckoo’s nest revelation
Lola leaves bank
Old lady asks time
Manni out of options
Ambulance almost hits glass
Lola is late – Manni goes in
Stick up - they join forces
Lola learns about guns
They escape
Cornered by police
Lola is shot
INTERLUDE
STORY TWO
Lola leaves and trips
Baby lady – wins lottery
Nun parade with sunglasses
Bicyclist - junkie
Meyer hits BMW
Mistress situation / revelation
Lola passes bum
Lola arrives at the Bank
Confrontation with her father
His answer - “no”
Lola takes gun
Takes her Dad hostage
Lola now understands gun
Mrs. Jager – S&M
Lola gets money from cambio
She exits bank, loses gun
Confronted by German army – gets free
Meets old lady and asks time
Manni decides to go in
Ambulance hits glass
Lola arrives and stops Manni
Manni hit by ambulance
INTERLUDE
STORY THREE
Lola leaves – vaults over dog
Baby lady – born again
Nun parade - dodges
Bicyclist - diverts
Biker meets bum and sells him bike
Meyer meets Lola, misses BMW
Lola does not meet bum , bum now on bike
Mistress situation
Meyer arrives, Dad leaves, Lola arrives late
Manni and blind woman
Manni chases after bum
Car accident with Meyer, Dad, BMW and scooter thief
Lola arrives at casino
Lola gets money and somehow gets in
She bets on number 20 – wins
She is asked to leave but stays
She bets on 20 again, screams, wins
Manni chases down bum and gets money back
Lola gets in ambulance – saves guard
Lola arrives with money
Manni arrives alive
Happy ending
Monday, May 12, 2003
The Illustrated Vogler
Here in precis form are the basic steps for Vogler's work - we'll discuss them in more detail in class BUT reading this over once or twice might make your assigment a lot easier. Just a thought.
Ordinary World
Ordinary vs Special World
Foreshadowing
Raising the Dramatic Question
Inner & Outer Problem
Introducing the Hero
The Hero’s Lack – Wounded Heroes
What’s at Stake
Call to Adventure
No More Options
Temptation
Heralds of Change
Disorientation / Discomfort
Refusal of the Call
Avoidance
Refusal leading to Tragedy
Positive vs Negative Refusals
Meeting with the Mentor
What is a Mentor?
Mentor-Hero Conflicts
Mentor as an Evolved Hero
Crossing the First Threshold
The Crossing
Rough Landing
Tests, Allies, Enemies
Allies vs Sidekicks
Teams
Enemies vs Rivals
Approach to the Innermost Cave
Preparation
Obstacles / Illusions
Threshold Guardians
Warnings
An Impossible Test
Higher Stakes / Reorganization
No Exit
Ordeal
Death & Rebirth
Crisis vs Climax
Witness to Sacrifice
A Taste of Death
Death of Villain
How Heroes Cheat Death
Reward (seizing the sword)
Love Scenes
Celebration
Taking Possession
The Road Back
Chase scenes
Retaliation
Setbacks
Villain Escapes
Resurrection
Physical vs Spiritual Ordeals
Death & Rebirth of Tragic Heroes
Showdowns
Character Arc
Change
Return with the Elixir
Denouement
Reward & Punishment
The World is Changed
Epilogue
Here in precis form are the basic steps for Vogler's work - we'll discuss them in more detail in class BUT reading this over once or twice might make your assigment a lot easier. Just a thought.
Ordinary World
Ordinary vs Special World
Foreshadowing
Raising the Dramatic Question
Inner & Outer Problem
Introducing the Hero
The Hero’s Lack – Wounded Heroes
What’s at Stake
Call to Adventure
No More Options
Temptation
Heralds of Change
Disorientation / Discomfort
Refusal of the Call
Avoidance
Refusal leading to Tragedy
Positive vs Negative Refusals
Meeting with the Mentor
What is a Mentor?
Mentor-Hero Conflicts
Mentor as an Evolved Hero
Crossing the First Threshold
The Crossing
Rough Landing
Tests, Allies, Enemies
Allies vs Sidekicks
Teams
Enemies vs Rivals
Approach to the Innermost Cave
Preparation
Obstacles / Illusions
Threshold Guardians
Warnings
An Impossible Test
Higher Stakes / Reorganization
No Exit
Ordeal
Death & Rebirth
Crisis vs Climax
Witness to Sacrifice
A Taste of Death
Death of Villain
How Heroes Cheat Death
Reward (seizing the sword)
Love Scenes
Celebration
Taking Possession
The Road Back
Chase scenes
Retaliation
Setbacks
Villain Escapes
Resurrection
Physical vs Spiritual Ordeals
Death & Rebirth of Tragic Heroes
Showdowns
Character Arc
Change
Return with the Elixir
Denouement
Reward & Punishment
The World is Changed
Epilogue
Monday, May 05, 2003
INTERACTIVE MEDIA
WEEK 1: Overview of Interactivity
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This information overload will open students minds to the possibilities presented by these new story forms.
Topics:
Course objectives
State of the Union - State of the Industry
Analog interactivity
Simple interactive forms
The cinematics of interaction
The atypical
Assignments:
Adopt-a-Nerd
Read McLuhan: Understanding Media - is the medium the message?
Read MIT article on Transmedia Storytelling
WEEK 2: The Illustrated Vogler
Based on Joseph Campbell's mono-myth cycle, Christopher Vogler's theory of story telling structure has become pivotal in contemporary screenwriting circles. Inspiring such films as Star Wars, Vogler's work has application to more than just the film world - his discussion of how character drives story has relevance to emerging interactive forms.
Topics:
Discussion of Vogler's model
Examples of and illustrations for each step
Translation to the interactive form - does it work?
Assignments:
Apply Vogler's theory to an interactive game
Read Creative Screenwriting handout
WEEK 3: Variations in Story Structure
To understand interaction, one must add a Z axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level. Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling.
Topics:
Five ways of looking at storytelling structures
Examination of various interactive models
Consideration of software - StorySpace, Inxight and the Brain
Screening of / Participation in "Point of View"
Assignment:
Prepare sample videogame script
WEEK 4: Interaction in Action
Recently, increased attention has been devoted to transmedia properties - those stories, concepts or characters that live equally online or offline, as either analog or digital creations. In many ways, such properties are the Holy Grail of convergence, representing the best chance for successful - and profitable - collaboration between technologists and filmmakers. This class will focus on the characteristics of such properties and how they have been successfully realized. Or not.
Topics:
Review of interactive principles
Discussion of transmedia properties
Screening of Run Lola Run
In-class unpacking exercise
Assignment:
Visual models - what is a Moebius strip? Trajan's column? The Bayeux Tapestry?
WEEK 5: Collaborative Storytelling
One of the challenges of interactive narrative is involving the audience in the experience without sacrificing the thrust of the narrative. While there have been some signature successes, few technology-driven forms have been able to surpass the success of the classical oral storyteller. The chief limit of the technical form has been the 3 x-1 rule. How do we bound our worlds such that narrative consistency isn't compromised but audience participation is maximized?
Topics:
Quick analog to digital survey of story collaboration
In-class storytelling collaboration
Assignment:
Survey and submit favorite interactive properties
WEEK 6: Audience? User? Participant?
Crucial to our understanding of interactivity is an appreciation of the audience experience. As one moves from 12 yards to 12 feet to 12 inches away from the screen, everything changes. The key to unlocking this puzzle oftentimes lies in the author¡¦s selection of interactive assets from the wide variety of media available.
This class will examine the basic elements that make up an interactive property. Discussion will focus on how their use can involve or alienate an audience/user/participant and how this resonance can be used to good effect.
Topics:
Information architecture
Master metaphor
Visual narrative
Layering media elements
Interaction as a prop for cinema
Assignment:
Easter Egg Hunt
Move to complete final projects
WEEK 7: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students' projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me - it'll be fun.
Peer review of projects
Discussion of results
WEEK 1: Overview of Interactivity
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This information overload will open students minds to the possibilities presented by these new story forms.
Topics:
Course objectives
State of the Union - State of the Industry
Analog interactivity
Simple interactive forms
The cinematics of interaction
The atypical
Assignments:
Adopt-a-Nerd
Read McLuhan: Understanding Media - is the medium the message?
Read MIT article on Transmedia Storytelling
WEEK 2: The Illustrated Vogler
Based on Joseph Campbell's mono-myth cycle, Christopher Vogler's theory of story telling structure has become pivotal in contemporary screenwriting circles. Inspiring such films as Star Wars, Vogler's work has application to more than just the film world - his discussion of how character drives story has relevance to emerging interactive forms.
Topics:
Discussion of Vogler's model
Examples of and illustrations for each step
Translation to the interactive form - does it work?
Assignments:
Apply Vogler's theory to an interactive game
Read Creative Screenwriting handout
WEEK 3: Variations in Story Structure
To understand interaction, one must add a Z axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level. Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling.
Topics:
Five ways of looking at storytelling structures
Examination of various interactive models
Consideration of software - StorySpace, Inxight and the Brain
Screening of / Participation in "Point of View"
Assignment:
Prepare sample videogame script
WEEK 4: Interaction in Action
Recently, increased attention has been devoted to transmedia properties - those stories, concepts or characters that live equally online or offline, as either analog or digital creations. In many ways, such properties are the Holy Grail of convergence, representing the best chance for successful - and profitable - collaboration between technologists and filmmakers. This class will focus on the characteristics of such properties and how they have been successfully realized. Or not.
Topics:
Review of interactive principles
Discussion of transmedia properties
Screening of Run Lola Run
In-class unpacking exercise
Assignment:
Visual models - what is a Moebius strip? Trajan's column? The Bayeux Tapestry?
WEEK 5: Collaborative Storytelling
One of the challenges of interactive narrative is involving the audience in the experience without sacrificing the thrust of the narrative. While there have been some signature successes, few technology-driven forms have been able to surpass the success of the classical oral storyteller. The chief limit of the technical form has been the 3 x-1 rule. How do we bound our worlds such that narrative consistency isn't compromised but audience participation is maximized?
Topics:
Quick analog to digital survey of story collaboration
In-class storytelling collaboration
Assignment:
Survey and submit favorite interactive properties
WEEK 6: Audience? User? Participant?
Crucial to our understanding of interactivity is an appreciation of the audience experience. As one moves from 12 yards to 12 feet to 12 inches away from the screen, everything changes. The key to unlocking this puzzle oftentimes lies in the author¡¦s selection of interactive assets from the wide variety of media available.
This class will examine the basic elements that make up an interactive property. Discussion will focus on how their use can involve or alienate an audience/user/participant and how this resonance can be used to good effect.
Topics:
Information architecture
Master metaphor
Visual narrative
Layering media elements
Interaction as a prop for cinema
Assignment:
Easter Egg Hunt
Move to complete final projects
WEEK 7: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students' projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me - it'll be fun.
Peer review of projects
Discussion of results
Monday, April 21, 2003
Last Call... for now
Ok, folks, that is *it* for this class anyway. Hope you had a good time and learned a thing or two. Hopefully, you've developed an interest in the topic and will add it to your diet as a writer. If you should find that you have questions or concerns on a forward-going basis, please don't hesitate to reach out.
Cheers!
Ok, folks, that is *it* for this class anyway. Hope you had a good time and learned a thing or two. Hopefully, you've developed an interest in the topic and will add it to your diet as a writer. If you should find that you have questions or concerns on a forward-going basis, please don't hesitate to reach out.
Cheers!
Monday, April 14, 2003
Grist for the Mill
For those of you beavering away at your interactive presentations, here are a few of the online properties we discussed in the last class. Remember to consider the following elements:
Audio layer - how are background sounds used to create mood/atmosphere?
Music - how is music used to drive the experience?
Colour Scheme / Palette - which colours have been chosen and why?
Static vs Dynamic Presentation - has motion or animation been used effectively?
Interactive Jewels - what features have been added to increase the site's stickiness or viral marketing potential?
The Package - if you've seen the movie, does the final package add up to a compelling interactive presentation?
The Sites:
The Blair Witch Project
Memento
Austin Powers - YEAH BABY!
Kung Pow the Movie
Altoids - Corporate, but a great metaphor
For those of you beavering away at your interactive presentations, here are a few of the online properties we discussed in the last class. Remember to consider the following elements:
Audio layer - how are background sounds used to create mood/atmosphere?
Music - how is music used to drive the experience?
Colour Scheme / Palette - which colours have been chosen and why?
Static vs Dynamic Presentation - has motion or animation been used effectively?
Interactive Jewels - what features have been added to increase the site's stickiness or viral marketing potential?
The Package - if you've seen the movie, does the final package add up to a compelling interactive presentation?
The Sites:
The Blair Witch Project
Memento
Austin Powers - YEAH BABY!
Kung Pow the Movie
Altoids - Corporate, but a great metaphor
Thursday, April 10, 2003
Wednesday, April 09, 2003
Machinima, Machinima, Say have you seen Machinima?
Required Reading!
Scan this one and honestly ask yourself if this technique does not simply BLOW YOUR MIND!!!
Ok, I exaggerate, but it is interesting, no?
Required Reading!
Scan this one and honestly ask yourself if this technique does not simply BLOW YOUR MIND!!!
Ok, I exaggerate, but it is interesting, no?
Tuesday, April 08, 2003
A Quick Recap
For those of you with an interest in reliving the drama, the passion, the pure in-your-face excitement of last week's class, I thought I'd include a list o' links to some of the properties we visited/discussed.
Homestarrunner! (singing) Everybody! Everybody!
Broken Saints Brooke's magnum opus
BMW Films Cool car, cool site and Gary Oldman with fangs!
PopCap.com Compulsive time wasting made easy
Gamasutra The motherload of information.
For those of you with an interest in reliving the drama, the passion, the pure in-your-face excitement of last week's class, I thought I'd include a list o' links to some of the properties we visited/discussed.
Homestarrunner! (singing) Everybody! Everybody!
Broken Saints Brooke's magnum opus
BMW Films Cool car, cool site and Gary Oldman with fangs!
PopCap.com Compulsive time wasting made easy
Gamasutra The motherload of information.
The Week Ahead
This week we're going to be getting into the real meat of interactive narrative with two (almost) back to back classes. The first (Wednesday) will deal with a modeling approach to storytelling and will revolve around a somewhat experimental in-class exercise. This process will expose you to the basic thinking that underlies "n" dimensional storytelling. The second class (Friday) will touch on the visual aspects of the interactive medium and the user (audience? participant?) experience. By the end of this week, you should be in good shape to tackle your projects.
I've noticed that mentoring hours, btw, are fully booked. Hmmm, this is a good thing - please be on time for your sessions. If you want/need a session but weren't able to sign up, please contact me and we'll work something out.
This week we're going to be getting into the real meat of interactive narrative with two (almost) back to back classes. The first (Wednesday) will deal with a modeling approach to storytelling and will revolve around a somewhat experimental in-class exercise. This process will expose you to the basic thinking that underlies "n" dimensional storytelling. The second class (Friday) will touch on the visual aspects of the interactive medium and the user (audience? participant?) experience. By the end of this week, you should be in good shape to tackle your projects.
I've noticed that mentoring hours, btw, are fully booked. Hmmm, this is a good thing - please be on time for your sessions. If you want/need a session but weren't able to sign up, please contact me and we'll work something out.
Monday, April 07, 2003
Fantasy Economics - Why economists are obsessed with online role-playing games. By Robert Shapiro
Required Reading!
Ok, I find this one fascinating... but then again, how much of a life do I have? Read on...
Btw, you can download the entire study here. But it isn't necessary to read the whole thing. Unless you're keen and really want that extra one percent. Any takers?
Required Reading!
Ok, I find this one fascinating... but then again, how much of a life do I have? Read on...
Btw, you can download the entire study here. But it isn't necessary to read the whole thing. Unless you're keen and really want that extra one percent. Any takers?
Friday, April 04, 2003
The Globe and Mail
Required Reading!
Convergence with a corporatey propaganda sorta twist. Wanna start a pool to see when this project collapses?
Required Reading!
Convergence with a corporatey propaganda sorta twist. Wanna start a pool to see when this project collapses?
Thursday, April 03, 2003
The Onion | Video-Game Characters Denounce Randomly Placed Swinging Blades
Required Reading!
... er, ok, maybe not required. Suggested?
Required Reading!
... er, ok, maybe not required. Suggested?
Wednesday, April 02, 2003
Amazing DoCoMo (int'l edition)
Required Reading!
Dated but interesting take on DoCoMo, Japan's uber-wireless provider.
Required Reading!
Dated but interesting take on DoCoMo, Japan's uber-wireless provider.
Tuesday, April 01, 2003
Lucky's VB Gaming Site - View Article
Network, damn you!
Check this out and we'll discuss it further in class tomorrow. This will make up part of your first week's assignment.
Network, damn you!
Check this out and we'll discuss it further in class tomorrow. This will make up part of your first week's assignment.
IGDA Vancouver
Network, damn you!
Check out the "Proof of Concept" event coming up next week. Might be worth a look-see for the keener of mind.
Network, damn you!
Check out the "Proof of Concept" event coming up next week. Might be worth a look-see for the keener of mind.
Sunday, March 30, 2003
WEEK 1: Overview of Interactivity
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned.
Given that VFS students tend to come from more of a filmmaker’s mindset, this class will serve as a wide-ranging overview of interactive forms. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This information overload will open
Topics:
· Course objectives
· State of the Union, State of the Industry
· Analog interactivity
· Simple interactive forms
· The cinematics of interaction
· Eye candy
· Limited interaction
· The atypical
Assignments:
· “Adopt-a-Nerd”
· Read McLuhan – is the medium the message?
· Read Creative Screenwriting article as prep for next week
· Read MIT article on transmedia storytelling
WEEK 2: Modeling three dimensional stories
To understand interaction, one must add a “Z” axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level.
Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling. In order to drive home these points, students will participate in an in-class, real-time storytelling exercise.
Topics:
· Five ways of looking at storytelling structures
· Examination of various interactive models
· In-class storytelling exercise
· Discussion of how interactivity co-exists with conventional storytelling
Assignments:
· Prepare sample videogame script
· What is a Moebius strip? Trajan’s column? The Bayeux Tapestry?
WEEK 3: Audience? User? Participant?
Crucial to our understanding of interactivity is an appreciation of the audience experience. As one moves from 12 yards to 12 feet to 12 inches away from the screen, everything changes. The key to unlocking this puzzle oftentimes lies in the author’s selection of interactive assets from the wide variety of media available.
This class will examine the basic elements that make up an interactive property. Discussion will focus on how their use can involve or alienate an audience/user/participant and how this resonance can be used to good effect.
Topics:
· Information architecture
· Master metaphor
· Visual narrative
· Layering media elements
· Interaction as a prop for cinema
· “PoV” screening and discussion
Assignment:
· Easter Egg Hunt
· Move to complete final projects
WEEK 4: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students’ projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me – it’ll be fun.
· Peer review of projects
· Discussion of results
Transmedia or convergence storytelling is poised to supplant traditional filmmaking as the dominant dramatic form of the 21st century. Although the rapid pace of innovation and advance has left a landscape dotted with failed ventures, several dominant forms have begun to emerge. From both winners and losers, there are a host of lessons to be learned.
Given that VFS students tend to come from more of a filmmaker’s mindset, this class will serve as a wide-ranging overview of interactive forms. Students will be exposed to narrative forms ranging from simple analog interaction to hugely complex MMPOGs. This information overload will open
Topics:
· Course objectives
· State of the Union, State of the Industry
· Analog interactivity
· Simple interactive forms
· The cinematics of interaction
· Eye candy
· Limited interaction
· The atypical
Assignments:
· “Adopt-a-Nerd”
· Read McLuhan – is the medium the message?
· Read Creative Screenwriting article as prep for next week
· Read MIT article on transmedia storytelling
WEEK 2: Modeling three dimensional stories
To understand interaction, one must add a “Z” axis to our way of thinking about storytelling. This is not to suggest a wholesale departure from what we know of dramatic structure, but rather to transform our way of thinking to allow for multiple narratives and multiple outcomes. In other words, this material lives at the treatment level.
Using a model-by-by model approach, this class will show how interaction simultaneously challenges and reinforces conventional storytelling. In order to drive home these points, students will participate in an in-class, real-time storytelling exercise.
Topics:
· Five ways of looking at storytelling structures
· Examination of various interactive models
· In-class storytelling exercise
· Discussion of how interactivity co-exists with conventional storytelling
Assignments:
· Prepare sample videogame script
· What is a Moebius strip? Trajan’s column? The Bayeux Tapestry?
WEEK 3: Audience? User? Participant?
Crucial to our understanding of interactivity is an appreciation of the audience experience. As one moves from 12 yards to 12 feet to 12 inches away from the screen, everything changes. The key to unlocking this puzzle oftentimes lies in the author’s selection of interactive assets from the wide variety of media available.
This class will examine the basic elements that make up an interactive property. Discussion will focus on how their use can involve or alienate an audience/user/participant and how this resonance can be used to good effect.
Topics:
· Information architecture
· Master metaphor
· Visual narrative
· Layering media elements
· Interaction as a prop for cinema
· “PoV” screening and discussion
Assignment:
· Easter Egg Hunt
· Move to complete final projects
WEEK 4: Presentation and Discussion of Final Projects
This final session of the course will be spent presenting, analyzing and discussing students’ projects. Emphasis will be given on how well students have processed the information presented in previous sessions in both their own work and their critique of fellow students.
Trust me – it’ll be fun.
· Peer review of projects
· Discussion of results
Saturday, March 29, 2003
Gamasutra - The Art & Science of Making Games
For Exploration
This site is the motherload of game-related information. Some of it is a little tech-heavy, some of it is a little more like corporate propaganda. But there is plenty of material here to satisfy gaming tastes from the mundane to the bizarre.
For Exploration
This site is the motherload of game-related information. Some of it is a little tech-heavy, some of it is a little more like corporate propaganda. But there is plenty of material here to satisfy gaming tastes from the mundane to the bizarre.
scottmccloud.com
For Exploration
Scott McCloud has an extremely interesting take on visual narrative - but he's a comics guy so go figure. Take a stroll through this site and make sure to check out his "Online Comics" section. Of particular note here is the non-linear story form of Carl.
For Exploration
Scott McCloud has an extremely interesting take on visual narrative - but he's a comics guy so go figure. Take a stroll through this site and make sure to check out his "Online Comics" section. Of particular note here is the non-linear story form of Carl.
Art in the Age of Mechanical Reproduction
Required Reading!
This one is a little less fun, but the author raises more than a few good points.
Required Reading!
This one is a little less fun, but the author raises more than a few good points.
McLuhan: Understanding Media
Required Reading!
Especially for Canadians working in the field. Trust me - you will be asked if the medium is indeed the message.
Required Reading!
Especially for Canadians working in the field. Trust me - you will be asked if the medium is indeed the message.
Friday, March 28, 2003
Transmedia Storytelling
Required Reading!
As a jumping off point, this article from the MIT Tech Review is a fair primer. A little light on analysis, it nonetheless provides a solid overview of convergence in digital entertainment.
Required Reading!
As a jumping off point, this article from the MIT Tech Review is a fair primer. A little light on analysis, it nonetheless provides a solid overview of convergence in digital entertainment.
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