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
Monday, May 12, 2003
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
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