Class Notes (1,100,000)
CA (650,000)
SFU (10,000)
IAT (200)
IAT 210 (70)
Lecture 13

IAT 210 Lecture Notes - Lecture 13: Gamification, Operant Conditioning, Crowdfunding


Department
Interactive Arts & Tech
Course Code
IAT 210
Professor
Natalie Funk
Lecture
13

This preview shows page 1. to view the full 4 pages of the document.
IAT 210 Week 12 Game Narrative
Run Lola Run
- Repetition with difference
- Linearity? Does this follow a classical structure?
- Protagonist? Antagonist?
- What conventions do we see from video games?
Henry Jenkins
- In his blog, media studies scholar Henry Jenkins writes:
- “I’d argue that these films deploy a language borrowed from games precisely to explore experiences which
would be difficult to achieve in a game. I think thinking of Run Lola Run as a game helps us to explore the theme
of choice and consequence which runs through the film, yet the filmmaker has the capacity to make every
choice offered a meaningful one while in games, many choices are necessarily arbitrary and uninteresting”
The Monomyth
- Christopher Vogler simplified and popularized Joseph Campbell’s ideas
Game Story Structures
- “String of pearls”
- “Hub and spokes
Henry Jenkins
- The Tension
o the tight control over viewer experience which Hitchcock achieves in his suspense films would be
directly antithetical to the aesthetics of good game design.”
- One solution
o Environmental storytelling creates the preconditions for an immersive narrative experience in at least
one of four ways: spatial stories can evoke pre-existing narrative associations; they can provide a staging
ground where narrative events are enacted; they may embed narrative information within their mise-
en-scene; or they provide resources for emergent narratives.
Spatial Storytelling
- Games complicate the authorial control of a linear narrative structure
- Modern game systems are good at creating rich, immersive worlds
- Makes it easy to rely on genres that cater to this world building idea: science fiction, fantasy, horror, war
Stories as environments
- Following the “Disney” school of thought – theme park design
o Story elements infused into the physical space
o The space appeals to the imagination, bringing up relevant memories and associations
o Players can inhabit this space formerly only imagined, and the designer can create a powerful empathic
pull into the experience
Embedded narrative
- Designers provide textual clues and information in the story world
- Because of player agency, the space muse be saturated with this information, sometimes redundantly
- Player takes active process in assembling these clues into a story that becomes more coherent over time
Emergent narrative
You're Reading a Preview

Unlock to view full version