Interactive Narrative Week 3 Blog Entry 2

For this week's blog entry I played all of the games and one that I really really enjoyed is Prince of Persia: The Sands of Time. It uses a linear model to tell its story. Because it is linear, I am aware that I am simply following the story created and embedded by its developers. Even though I can't impact the embedded story in any manner, I still find myself engaged on playing the game. It's almost like watching a movie but reliving the experience of the protagonist.

I was really engaged on playing the game because I wanted to know more about the story. As pointed out by Marie-Laure Ryan in her article StoryWorlds: A Journal of Narrative Studies (2009), immersion to the fiction is what makes playing a game meaningful. Epistemic immersion plays a big part on this because as a player, I want to uncover the mystery. It's my goal and I have struggled to come so far. In Prince of Persia: The Sands of Time, part of that mystery is the Prince's narration. He is telling the story as if it has already happened. Also whenever I save the game, I get a glimpse of what's to come and it ties into that mystery of the narration. Of course finding out what the Vizier's actual plan is also a mystery you would want to solve.

The game sets a straight path for the player to follow its linear story. Apart from the puzzles that the player has to solve, not much of exploration can be done. But it's not really off putting. The game environment suits the linear storytelling of the game. There aren't any side missions to do so exploration wouldn't really mean much. Even though I can't wander off and discover the landscape, the game has amazing set pieces that fleshes out the world of the story. Spatial immersion makes this game exciting, especially because the game environment has a vital role on the gameplay itself. The environment design completes the lore, it gives the player a taste of what it feels like to live in the world of Persian myth. The destroyed and ruined parts of the castle also give the player a sense of danger at every corner. Some of which fall off whenever the player approaches. It supports the dangerous situation the protagonist is facing. It creates an illusion that I'm part of this world; that I am involved (even if it's only by proxy) and that makes me feel immersed to the fiction.

The linear storytelling of Prince of Persia: The Sands of Time doesn't offer me any meaningful choice to change the story. But being immersed to the fiction makes playing it meaningful and that's what makes it engaging and exciting to play. Continuing to progress the story in order to uncover the mystery is a choice by itself and maybe that's good enough. :)


References:

Ubisoft Montreal (Developer). (2003). Prince of Persia: The Sands of Time [Video Game]. France: Ubisoft

Ryan, M.L. (Author). (2009). StoryWorld: A Journal of Narrative Studies [Article]. United States: University of Nebraska Press

Character Moodboard

Here is the character mood board that I did for our project. The mood board that I made is mostly about the personality of the character for gestures and facial expressions. I also included objects/food as characters.

Michelle C. also made another mood board for the art style of the character. 

I also did some concept sketches and ideas for character design exploration. 

Group Story Concept

03/03/2016

Our group received feedback for the story that we're going to make an animated sequence for. The tutors told us that it would be better if the puns relate to the butter rather than be puns about random food items. 

They also told us to find out how butter acts when bent, twist and melted to have a clear idea of how butter works for research. Me, Jonathan and Michelle C. borrowed some clay and planned out how the character could work. Our group still has to design the character but we do have initial ideas/concepts to work with just to work out how the character would work. I came up with different concepts and also ideas on how to explore the design for the character. We also have a character profile to work with provided by Mikayla.

Here is the revised script by Mikayla and Michelle Z. It's not yet finished but it's close being finalized.

SCRIPT 

SERIES OF SHOTS OF A POT BOILING, A FRIDGE, AND HANDS CHOPPING FOOD. 

EST. SHOT OF APARTMENT KITCHEN; A YOUNG LADY IS BUSY PREPARING A MEAL. 

CLOSE UP ON HER EXPRESSION AS SHE CHOPS, WHERE SHE PAUSES TO GRAB SOMETHING - AN INGREDIENT - ONLY TO REALISE IT’S NOT THERE. 

P.O.V. SHOT AS SHE LOOKS AROUND THE BENCH. SWITCHES TO A MID SHOT AS SHE SIGHS, LOOKING TO THE FRIDGE. 

YOUNG LADY: 

“Here we go…” 

SHOT OF HER CROUCHING DOWN IN FRONT OF THE FRIDGE; SHE REACHES AND OPENS THE DOOR. SHOT CHANGES TO SHOW THE FRIDGES INTERIOR. 

BUTTER: 

“Oh, hello~!” 

CLOSE UP ON HER EXPRESSION - A MIX OF EXHAUSTION AND DREAD, AS SHE TURNS TO LOOK IN THE FRIDGE DOOR. SWITCHES TO OVER THE SHOULDER SHOT. 

BUTTER: 

“We meet again.” 

A SMOOTH VOICE SPEAKS, WITH A PANNING VIEW OVER THE SHOULDER, WE SEE A STICK OF BUTTER COME INTO VIEW.  

ZOOM IN TO SEE THE BUTTER WAVING AND SMILING. 

THE LADY STARES AT HIM UNIMPRESSED. 

YOUNG LADY: 

“Not by choice…” 

THE BUTTER FEIGNS HURT, HOLDING HIS HAND TO HIS HEART. 

BUTTER: 

“Oh, you’re almost colder than this fridge. But - is that cooking I smell?” 

BUTTER SNIFFS. 

BUTTER: 

“Hm, wouldn’t it taste better with me?” 

BUTTER GESTURES AT HIMSELF. 

BUTTER: 

“Or should I say… butter?” 

CLOSE UP OF LADY GOING TO PROTEST. SHOT RETURNS TO BUTTER. 

BUTTER: 

“I’m bready for you.”  

WOMAN LOOKS BACK AT BENCH TO HER MEAL WHERE BUTTER CLEARLY IS NOT NEEDED. 

SLIGHTLY PANICKED, HE WATCHES AS SHE SIGHS AND GOES TO GRAB MORE INGREDIENTS FROM THE FRIDGE.  

YOUNG LADY: 

“Well…” 

BUTTER: 

“…” 

YOUNG LADY SIGHS, SIDE ON SHOT OF HER AND BUTTER. 

YOUNG LADY: 

“Look, I’m flattered, but…” 

BUTTER: 

“B-But you can’t churn me down; I’m high-end creamy blend!” 

YOUNG LADY SMILES, IN A CONDESCENDING WAY. 

YOUNG LADY: 

“And I’m lactose intolerant.” 

FADE TO BLACK WITH SHOT OF BUTTER, LOOKING HEARTBROKEN, AS THE FRIDGE CLOSES. 

END

Roles and Schedule

Our group decided on which roles we should take. Mikayla is the director because it's her story that we chose to produce. Michelle Z. is our producer and is in charge of keeping us in line. We chose her because she can shoulder the responsibility which no ones seems to be keen to take on, including myself. Mikayla and Michelle Z. would be in charge of editing and compositing.I am the head of 3D because I'm super keen on using 3D. Most of the people wanted to do 2D as they feel more comfortable on animating in 2D. That's where we got the idea of combining 3D and 2D animation for the character. Michelle C. would be helping me with the 3D stuff including the props we need. Jonathan is in charge of the 2D animation and sound design. Him and Zach are in charge of designing the character.

This is the initial production schedule that we made. 

Update: Michelle C. is now the director. Basically she has the say in creative disputes. This is logical because Mikayla may have too much control over the story/decisions and making Michelle C. the director means that we have a say. She's the mediator. 

And this is our final production schedule.

Interactive Narrative Week 2 Blog Entry 1

I played the game Never Alone and I really enjoyed it. An interesting thing about it is how the story is told. A narrator introduces the story from the ordinary world and what disruption pushes the protagonist, Nuna, to embark on a quest/adventure. This gives me, the player, a goal. The game doesn't really give me much freedom to change the course of the story (aside from dying) as the game itself is based from an Inuit myth and I have to follow that story. The story is even narrated every now and then. But it doesn't really put me off from playing the game. Even though the story is narrated and I'm aware that I wouldn't be able to make a significant impact, I'm still engaged on playing the game. Uncertainty plays a big part on that because I don't know how the story will progress. Uncertainty infuses the game with dramatic tension. (Salen and Zimmerman, Rules of Play, 2004) The game doesn't instantly reveal the overlying story arc, or what my real objective is; rather it gives me little puzzles to solve in order to progress into the story. The investigative nature of it keeps me engaged. After solving a number of puzzles, it reveals the story little by little. For example is the Terrible Man. I didn't really know who this villain is and what his objective is before helping the Owl Man. After retrieving the drum for the Owl Man, he gives me an item, the bola, which is what the villain is actually after.

The cinematic scenes of the game show the personality of the characters. I don't really have much control over the interaction of the main characters aside from making them run and switching between them. They just automatically follow each other and they both help each other, e.g.  the fox can communicate with spirits and Nuna can push objects. I haven't really gone very far in the game to exactly know why the fox is helping Nuna. But from the dynamic of Nuna and the fox, which I can both control, I can deduce that the spirits are guiding Nuna. Like the puzzles themselves, the story is told through discovery. Certain easter eggs are also found when playing the game which contain commentaries, interviews and behind the scene videos.  They all reveal a little something about the story such as symbols, the role of the spirits, the Inuit culture and the myth itself.




References:

Upper One Games (Developer). (2014). Never Alone [Video Game]. United States: E-Line Media

Salen, K., Zimmerman, E. (Authors). (2004). Rules of Play [Book]. United States: MIT Press

Script Draft

AFTERNOON

INT. APARTMENT. INSIDE MR. BRIGHTSTAR’S ROOM.

WINDOWS WIDE SHUT WITH ONLY THE SLIGHTEST LIGHT PENTRATING THE ROOM. A GLOOMY AURA SURROUNDS IT. THE ROOM IS IN A CLUTTERED STATE, REFLECTING ITS OCCUPANT’S STATE OF MIND.

POV: MR. BRIGHTSTAR IS LOOKING CLOSELY AT HIS COLLECTION OF FRAMED NEWSPAPER HEADLINES. HIS FACE CAN BE SEEN CLEARLY FROM THE REFLECTION, A PICTURE OF EMPTINESS AND MISERY, REMINISCING ON WHAT WAS. HE MOVES TO THE SIDE STARING AT EACH AND EVERY ONE OF THEM. THEY ALL DISPLAY HIS HEROIC AND EPIC FEATS, SAVE FOR THE LAST ONE. THE GLASS SHATTERED, IT IS A CONSTANT REMINDER OF THE DAY THAT REDEFINED HIS LIFE. A HUMILIATING DEFEAT, ONE OF HIS OWN MAKING DUE TO HIS RASH DECISION.

MEDIUM LONG SHOT/ESTABLISHING SHOT, HIGH ANGLE: MR. BRIGHTSTAR IS STANDING IN HIS ROOM. HE LOOKS DOWN, LOOKING AWAY FROM THE PICTURE FRAME.

CAMERA PAN, HIGH ANGLE: CAMERA FOLLOWS AS HE WALKS AWAY. HE THEN SITS ON THE COUCH AND PUTS HIS HANDS ON HIS FACE.

MR. BRIGHTSTAR (INTERNAL MONOLOGUE): I’ve never been the same since the incident. I lost my powers and now I feel like I have no purpose.

OVER THE SHOULDER SHOT, HIGH ANGLE: HE STRAINS TO USE HIS POWERS BUT TO NO AVAIL.

Every day I try. Every day I hope that my powers would come back. But every time I try, it just gets darker and darker. 

MR. BRIGHTSTAR STARTS WEEPING. THEN A GENTLE KNOCK ON THE DOOR INTERRUPTS HIM. HE LOOKS AT THE DOOR.

MID SHOT: THE DOOR CUTS THE SHOT IN HALF AS BOTH SIDES ARE SHOWN BUT IS SLIGHTLY TILTED TOWARDS THE ROOM. THE OTHER SIDE OF THE DOOR IS WELL LIT.

MRS. BRIGHTSTAR: *Knock knock* (Muffled) Hey hon, are you alright? *Momentary silence* I.I…I cooked something. It’s your favourite.

MR. BRIGHTSTAR: *Sniffling* I’m not hungry…

MRS. BRIGHTSTAR: *Awkward sing-songy voice* I made it extra yummy for you. That’s right! More cheese!

MR. BRIGHTSTAR: Go away, I’m not hungry…. I…I’m….. busy. *Wipes away his tears*

MRS. BRIGHTSTAR: *Agitated voice* Busy doing what? I know it’s been hard for you lately and I can never imagine what you’re going through but it’s also been tough for me. Please don’t push me away.

MR. BRIGHTSTAR: Don’t make this about you!

MRS. BRIGHTSTAR: I…I didn’t mean it that way. It’s hard for me to see you like this, it breaks my heart every time. Don’t push me away, help me understand. Let’s talk about this.

OVER THE SHOULDER SHOT (MRS. BRIGHTSTAR): MR. BRIGHTSTAR OPENS THE DOOR, LETTING LIGHT SPILL INTO HIS DARK ROOM.

MID SHOT: THEY ENTER THE ROOM AND THEY BOTH SIT ON THE COUCH. HE DISTANCES HIMSELF, LOOKING AWAY.

CAMERA OVER HIS SHOULDERS

MRS. BRIGHTSTAR: This doesn’t have to be your burden alone. I’m your wife.

CLOSE UP

MR. BRIGHSTAR: I’m not the man I used to be. I’m not a world-saving champion anymore. I never realized that I could lose my light. Now, without it I feel like a burnt candle.

MID SHOT

MRS. BRIGHTSTAR: Hey, hey. *She holds up his chin* You’re still the light of my world.

CAMERA ZOOMS IN. THEY SHARE A SMILE AND THEN THEY HUG, HOLDING EACH OTHER TIGHTLY. SLOWLY FADE TO BLACK. 

Character Profiles

Protagonist

Name:  Mr. Brightstar

Age: 30+

Race: Light Being

Gender:  Male

Living Situation: Middle class family man

Occupation: Former superhero

Personality - Best Traits: Bold, Lively, Enthusiastic, Brave, Righteous

Personality - Flaws: Arrogant, Rash, Reckless

Desires/Likes: Wants his powers back, Save the world, Be the man his wife fell in love with, Protect his family, Save people from evil forces, A challenge, Being mighty, Lasagna

Fears/Dislikes: Not being able to protect people, especially his family, Fall short of his wife's expectations, Losing his powers, Losing purpose, Feeling useless, Evil


Supporting Character

Name:  Mrs. Brightstar

Age: 30+

Race: Human

Gender:  Female

Living Situation: Middle class working woman

Occupation: Shop Manager

Personality - Best Traits: Cheery, Quirky, Observant, Thoughtful

Personality - Flaws: Awkward, Short Tempered

Desires/Likes:  Cheering up her husband, Cooking for him, Singing, Having quirky fun, Watching Movies

Fears/Dislikes: Evil doers, Losing her husband, Drifting apart from friends, losing her shop/job, Burnt food