Connor Scott Thesis Presentation What to Expect: 1 . Previous Work - - PowerPoint PPT Presentation

Connor Scott

Thesis Presentation

What to Expect:

• 1. Previous Work
• 2. The Statement
• 3. The Research
• 4. The Application

Previous Work:

Design in General:

Design in General:

Design in General:

Content Design & Other IP's:

Content Design & Other IP's:

XP in RPGs:

Jump

The

Universe

The Jump Universe:

The Statement:

“Through the implementation of quests and sub-quests in non-digital games, gameplay mechanics and the aesthetics of the monomyth intertwine, allowing for dynamic, non-linear gaming experiences within board game systems. "

Thesis Research:

Games Are Non-Linear:

Games are a non-linear medium... ...but stories are linear. How can we make a non-linear story?

Games Are Non-Linear:

“A game is non-linear. Games must provide at least the illusion of free will to the player; players must feel that they have freedom of action within the structure of the game. ”

• Costikyan

Games Are Non-Linear:

Story + Game = Less Effective

5 10 15 20 Effectiveness

Hypertext Fiction:

It gives users 'choice... '

• but-

...it takes control away from the author.

Gamebooks:

Allow readers to play the part of the protagonist.

Paragraph-System Board Games:

“ ...it's as if the text on page 86 could change in response to choices elsewhere in the gamebook. ”

???

Is it a game, narrative, or interactive story?

The Compromise. . .

Game > Story Story > Game

MDA:

“A game development paradigm designed to help developers make the most out of a game idea, and proceed efficiently through the complex process of bringing a game to market. ”

MDA:

Mechanics → Rules Dynamics → Systems Aesthetics → Experience

• Mechanics → Dynamics → Aesthetics

the 8 Aesthetics:

• Sensation (sense-pleasure)
• Fantasy (make-believe)
• Narrative (drama)
• Challenge (obstacle

course)

• Fellowship (social)
• Discovery (uncharted

territory)

• Expression (self-

discovery)

• Submission (pastime)

Quests and Journeys:

Quests:

“Quests in games can actually provide an interesting type of bridge between game rules and game fiction. ” Ludology → Narratology

What is a Quest?

Quests can be a... “sequence of major and minor goals with an uncertain outcome in which we struggle with good and evil impulses” They are... “An activity in which players must overcome challenges in order to reach a goal. ”

What is a Quest?

“Quests can be used to unify both meaning and action. ”

• Jeff Howard

Games

Narratives

Quests

What is a Quest?

World of Warcraft: the Board Game

Quest based game, but... ...there's only 1 type

• f quest, and...

...there's no narrative.

World of Warcraft: the Adventure Game

Quest based game, but... ...there's still no narrative, and... ...it's all up to chance.

What About the Journey?

“ ...the spacial movement and temporal duration entailed by a quest. "

???

Systems of Quests = the Journey

What About the Journey?

“this journey constitutes a protagonist's quest to

• vercome various
• bstacles and enemies.

”

• Susan Tosca

Quests, as Applied to MDA

Mechanics Dynamics Aesthetics

so...

Mechanics Quests Aesthetics

which means...

Mechanics Quests Narrative

• r...

Mechanics Quests Monomyth

Narratives in Board Games:

“It can be players inventing a story line and saying it

• ut loud, it can be a series of events generated by the

system that creates a story in the players mind, it can be a preset plot that the players discover section by section, or it can be as simple as a description of a sports event which the player follows with interest. ”

• Mike Siggins

Narratives in Board Games:

“Boardgame systems have their advantages. They can be designed to offer punchy , time limited experiences that are self contained. They allow a player to experience numerous vastly different subjects and situations. ”

Reactive Systems:

“In the active capacity , the player creates or at least affects the story in tandem with the game

• system. In multiplayer games, several players

will influence the unfolding action, for instance by financial decisions in the building of a railway , or perhaps simply by playing sequential event cards, and the system must be able to assimilate and manage these multiple inputs. Again, the ability to rationalize is crucial. In this case, the players are the prompters and assume proactive roles, while the system, in varying degrees, becomes more reactive. ”

Quests and Sub-Quests:

“The balance of main quest and side quests resolves potential tension between the multiplicity valorized by postmodern theories

• f new media and the unity implied

by an ancient 'monomyth' or 'grand narrative'”

• Jeff Howard

Sub-Quests (Sub-Missions) and Primary Quests (Campaign Missions) make up the Entirety of Jump. When used together, they allow all of the mechanics to create the Goal: the monomyth

Campaigns:

A 3-Act Structure propels the campaign forward, creating a story through the missions you choose to complete. Each campaign provides a different gaming experience, while the game's mechanics change as the game progresses.

5-Act Structure:

Act I – Act II – Act III – Act IV – Act V

Beginning – Challenge – Catharsis – Climax – Resolution

Act I Each Act corresponds with its own section of the board Act III Act II

Timeline:

Summer 2010 → Begin research and initial prototype development. Fall 2010 → Continue research and conceptualize new prototype - considering

what was learned from the first iteration - for Studio II.

Winter 2011 → Studio II; 45-hour review. Continue research beyond review and

produce beta prototype.

Spring 2011 → Apply research and preform vigorous beta testing while

concluding studies. Summer 2011 → Apply industry experience to thesis and prototype.

Fall 2011 → Conclude research. Submit final thesis paper and visual

component.

Bibliography

Krawczyk, Marianne, and Jeannie Novak. Game Story & Character Development. Clifton Park: Celmar Cengage Learning, 2006. Rouse III, Richard. Game Design Theory &

• Practice. Sudbury

, Jones and Bartlett Publishers, LLC, 2004. Sheldon, Lee. Character Development and Storytelling for Games. Boston: Thomson, 2004. Siggins, Mike. Narrative and Atmosphere in Boardgame Systems. GameCabinet.com.

• Web. 9 August 2010.

<http:/ /www.gamecabinet.com/ editorials/ Narrative.html> Tinsman, Brian. The Game Inventor's

• Guidebook. New York: Morgan Lakes

Publishing, 2008.

Bateman, Chris, and Richard Boon. 21st Century Game Design. Hingham: Charles River Media, 2006. Brathwaite, Brenda, and Ian Schreiber. Challenges for Game

• Designers. Boston: Course technology

, 2009. Costikyan, Greg. Where Stories End and Games Begin. 2000. Web. 21 July 2010. <http:/ /www.costik.com/articles.html> Dille, Flint, and John Zuur Platten. Video Game Writing and

• Design. New York: Lone Eagle Publishing Company

, 2007 . Dunniway , Troy , and Jeannie Novak. Gameplay Mechanics. Clifton Park: Celmar Cengage Learning, 2008. Howard, Jeff. Quests: Design, Theory , and History in Games and

• Narratives. Wellesley: A K Peters, 2008.

Knizia, Reiner. The Design and Testing of the Board Game – Lord of the Rings. Reiner Knizia Articles, March 2005. Web. 6 July 2010. <http:/ / www.convivium.org.uk/kgarticles.htm#> Koster , Raph. A Theory of Fun for Game Design. Scottsdale, Paraglyph Press, 2005.

Ludography

Little, Jay , and Daniel Lovat Clark, Michael Hurley , and Tim Uren. (2009). Warhammer Fantasy Roleplay. Fantasy Flight Games / Games Workshop. Peterson, Chriatian T, and Eric M. Lang, Greg Benage, Corey Konieczka, and John

• Goodenough. World of Warcraft: the Board
• Game. Fantasy Flight Games Blizzard

Entertainment. Tidball, Jeff. (2010). Horus Heresy. Roseville. Fantasy Flight Games / Games Workshop. Wilson, Kevin. Descent: Journeys in the Dark. Fantasy Flight Games. Catalyst Games Lab. (2008). Shadowrun. WK Games. Cliffe, Ken. (2008). Legacy of the Unconquered Sun. Stone

• Mountain. White Wolf Publishing.

Collins, Andy , and Rob Heinsoo, and James Wyatt. (2008). Dungeons and Dragons. Renton. Wizards of the Coast. Halliwell, Richard. (2009). Space Hulk. Glen Burnie. Games Workshop. Hurley , Michael, and Ross Watson. (2009). Rogue Trader.

• Roseville. Fantasy Flight Games / Games Workshop.

Konieczka, Corey. World of Warcraft: the Adventure Game. Fantasy Flight Games / Blizzard Entertainment. Konieczka, Corey , and Christian T. Peterson. (2007). StarCraft: the Board Game. Fantasy Flight Games /