Obsidian: Ludology / [[09-01-01-Ludology ludology]] Game Design / [[08-01-01-GameDesign gamedesign]] Lore / [[12-01-01-Lore lore]]
Medium
- Storytelling is intrinsic to human nature. (to not feel alone in universe)
- Stories arise from consciousness, self-reflection, and understanding our actions. (family, survival, and thriving.)
- Stories shape how we consume information, create emotional experiences, and expand our worldview. Whoever controls the narrative has the power. The evolution of storytelling: campfire tales > myths > printing press (linear storytelling) > post-linear storytelling (world-building).
Philosophical and Theoretical Perspectives
Hauntology
Coined by Derrida (“haunt” + “ontology”): Our experiences gain meaning through connections to the past and future.
Narrative Theory
Investigate theories of narrative structure, such as Aristotle’s “Poetics” or Freytag’s Pyramid, and how they apply to different media.
Facts presented as story that is familiar to us we verry likely to accept it on gut instinct, without examining it critically. (Framing)
Genres
Literary
Poetry: Focused on lyrical expression (lyrical subject). Drama: Presented on stage (characters). Includes comedy, tragedy, drama. Fiction/Nonfiction: Narrative-driven (narrator). Examples: novella, short story, novel, fable, epic, parable.
Fantasy: nostalgic for world that never was. fromed somehow in romanticism.
- World - magical
- language ? - usage of words and concepts - word ‘Ok’ is modern, like more sex
- Morality - Evil is evil is mythological > read like a dream - symbol of putting world in the balance
- no influence of socio political logic of current discurse. world is symbolic to theri psychology
contemporary vs mythological leaning
road grom profain to the sacred https://youtu.be/pq-HDpqQeSw
Subgenres:
- Parable: Allegorical stories exploring metaphysics, ethics, consciousness, and universal truths. Characters and events serve as symbolic examples. Interpretation requires uncovering hidden allegorical or moral meanings.
- Exemplum: Stories rooted in familiar worlds, illustrating moral or universal lessons.
- Folktale: Traditional stories passed down, featuring exaggerated characters and challenges.
- Myth: Sacred tales explaining origins.
- Tall Tale: Humorous, exaggerated narratives.
- Fairy Tale: Magical stories with happy endings.
- Fable: Moral lessons through animal characters.
- Legend: Stories about real figures, unverifiable.
- Science and Journalism: Blurring literature, science, and public discourse, e.g., essays, columns, reportage. / Memoir/Autobiography
Mystery/Thriller:Romance:
- Gothic Literature: Dark, atmospheric stories exploring the macabre and supernatural.
- Epic Poetry: Long narrative poems celebrating heroic deeds, such as The Iliad or Beowulf.
- Native/Indigenous Storytelling: Oral traditions and myths specific to indigenous cultures, often linked to spirituality and nature.
-
Afrofuturism: Stories blending science fiction, history, and African culture to explore identity and empowerment.
- Indigenous Oral Traditions: Stories rooted in spiritual beliefs and environmental harmony, such as Native American creation myths or Aboriginal Dreamtime narratives.
- African Griots: Oral historians who preserve history, genealogy, and moral lessons through performance and music.
- Japanese Noh and Kabuki: Theatrical storytelling blending drama, dance, and music, reflecting traditional Japanese themes and aesthetics.
- Indian Epics: Grand narratives like the Mahabharata and Ramayana blending mythology, philosophy, and moral teachings.
- Middle Eastern Tales: Collections like One Thousand and One Nights, featuring layered storytelling and moral lessons.
- Nordic Sagas: Epic tales of heroes, gods, and battles, reflecting Viking culture and values.
- Latin American Magical Realism: Stories merging the mundane and fantastical, deeply tied to cultural identity and history.
- Chinese Classical Novels: Multi-layered epics such as Journey to the West and Dream of the Red Chamber interweaving philosophy, adventure, and culture.
- Caribbean Folklore: Tales incorporating African, European, and indigenous influences, often featuring trickster figures like Anansi.
- Pacific Islander Mythology: Narratives of creation, gods, and heroes, tied to oceanic landscapes and traditions.
- Eastern European Fairy Tales: Rich in allegory and often dark, exploring universal themes of struggle and morality.
- Greek Tragedy and Comedy: Foundational plays addressing human flaws, destiny, and social critique.
Paradigm
Movies are build on empathy to characters.
Premise
Premise is single core statement, the foundation of story. premise statement is often a familiar expression or cliché. ‘Latin words, meaning to put before’. Every story has one premise. Only one. This premise is the underlying idea of your story-the foundation that supports your entire plot. Converting a premise into a story isn’t as straightforward as it might seem. The premise can easily become an end in itself, or at least an excuse for why the writer hasn’t included a clear protagonist, a meaningful crisis, or a powerful plot line. That’s because the fundamental concept you create in advance will drive the actions of your characters. You should not subvert expectations here. to not make reader/viewers disappointed
- Thematic idea - Drives its structure and delivery … and suggesting a bigger meaning
- Logline - The premise often lives in the “logline”
Story
Story tells who and what - (Internal conflict why it matters, why it matters how change the character ) (Circumstances) - Series of events recorded in their chronological order, sequence of events. Story includes all of the events described that make up a narrative. What is the topic, what are the issue. Story is more than one idea.
- Unique story or have a twist or something to say.
- To what extent do circumstances affect the nature of actions?
Plot
Plot tells how - (External, what happened) (Action) - With story in mind, you can decide how to plot it. Series of events deliberately arranged so as to reveal their dramatic, thematic, and emotional significance, and create tension.
- Umbrella plot we will do x because core plot of genre
- Synopsis - beat for beat retelling of your story’s plot
Character vs plot driven story
Without internal conflict plot have no meaning - Question: Why it matters?
- Character driven story - inner transformation and relations with other why something matters to character giving his desires and fears Move story through action and choices. Character as agent of change.
- Plot is external conflict - what’s happened. Events of the story move story forward and cause character to react
Narration
Narrative tells why - (Description) - Interpretation of the events within the story. point of view of the story. Gameplay, dialog, notes, setting, graphics
Linear, non linear
Narrative Experience
Point of view
| Past | Present | Future | |
|---|---|---|---|
| First | autobiographies | wills | shopping lists |
| Second | letters | adventure books | ransom notes |
| Third | novels | plays (theater) | instructions |
First-person narrator
I / Me / My - Character is telling the story. connection, access to thoughts. share emotions, strong characterization but: restricted to one character, difficult .filter words to show perspective of character
– występuje w gatunkach epickich.
Może on być jednym z uczestników opowiadanych wydarzeń, ich świadkiem, kronikarzem lub osobą rekonstruującą minione wypadki. Jego wiedza jest ograniczona – wie jedynie to, czego sam doświadczył, albo co przekazali mu inni.
Opowieść narratora pierwszoosobowego może przyjmować m.in. takie formy jak ustna relacja, autobiografia, pamiętnik, dziennik, listy czy monolog wewnętrzny.
- reliable character telling their own story,
Third-person narrator
She / He Her / His - External narrator is telling the story. Commentator / Interviewer
| Ontological status | Homodiegetic (within world, part of story) interviewer | Heterodiegetic (outside (commentary / HUD)) detached observer |
| Shapedness of narrator | Personal (we know a characteristic of narrator and can picture narrator) | Non-personal (Only story is narrated) |
| Knowledge | Restricted | All-Knowing - Omnipotent / Omniscient |
| Nature of narrator’s utterance act with regards to story world facts | Representing (represents already exiting story and world) | Stipulating (stipulates story through narrating) |
- a character telling another character’s story,
- an unreliable character telling the story.
Structure
why who where what when how
Narrative rationality
- Coherence: a story hangs together. (compare to laws of the universe / story laws)
- Fidelity: a story feels true (to us giving our value system - if match ours we can use it but if not correspond to what we already know we reject it )
Cannot say a story without Place, Time and Character. Or you can
- plot relevancy - only add essentials that matter. to much - boring, to little - implausible
- every question brought by the plot is an promise , keep best to keep those promises
- every step in journey should bring you little bit to final
- sense of progress from ballet point to bullet point > sections.
- moment goal reach story is over
- Promise > Progress > Payoff
- Substitution plot :L give sth else than what expected /harder to write/
Bloom’s Taxonomy Levels
- Knowledge – recall of information.
- Comprehension – understanding concepts.
- Application – applying knowledge in different contexts.
- Analysis – breaking down information.
- Synthesis – creating new ideas or solutions.
- Evaluation – judging and critiquing based on established criteria.
Three-Act structure
Setup > Introduction / Beginning
- to engage
- roznicza miedzy pokazywaniem tajemnicy / wprowadzaniem motywów a randomem
- cold open (start in adventure)
- play with expectation,
Conflict > Peak / Twist
- (tentpole - most expensive mom)
Resolution > End / Payoff
- payoff should give u everything from premise of beginning character how will change
- brain reference to those experience and have impact to long term memory
- coming home, return motive with plot points are between phases
MICE
A way to categorize stories, but also a loose guideline on where to start and end a story based on how it’s categorized
When do multiple stories: nest one inside other.
Milieu (Setting)- enter new places > navigate, struggle to exit survive > return or exit (Gulliver, Alice in Wonderland, The Hobbit)
Inquiry (Idea) - Ask question > dead end answer > process of finding information or question (murder mysteries, The Da Vinci Code.)
Character - Internal Thread that identity shift. Unhappy about self > Tries to change ways, attempt to break out > Change
Event - Action. Sth disturb status quo.> chases, fight > Status q External thread
Narrative Arc
Narrative arc make viewer curious how story will end. You need to fulfill the ark of every character.
Exposition - settings and places opening during the story object can inherit meaning and emotional value
Rising Action - move plot forward, establish conflict
Climax - tensest moment of crisis , confrontation
Falling Action - move toward ending denouement
Resolution - back to stability
Cycles
Second to second
Minute to minute
Hour to Hour
- Story Shape Ups and downs tension !!!!
- Therefor instead of: Then (a means to an end) (Causality)
- Try and fail. Fail and find new: clue, inspiration, information
plot expansion: instead of twist /u get more than promised not unexpected change
change
Endgame
.
Mental Modeling. Sense of mental image of game. that we would like to get.
Conflict
Classical
- man vs nature
- man vs man
- man vs god
Modern
- man vs society
- man vs self
- man vs no god
Postmodern
- man vs technology
- man vs reality
- man vs autor
shakespera vs marks marx figh because are opposite diff and in shakes are no difference at all
Structure Elements
- Coincidence are bad in story
- Show a little details that can paint a grander picture.
- Strange attractor new spin on familiar idea or 2 ideas
- Seeding Spreading tiny bits of exposition
- Payoff Response
- Foreshadowing Plant idea ahead and earlier to connect later
- Mystery - Red Herring - Fałszywy trop. - murder mistries
who done itmovies. Rather not for games - Callbacks - widly used in hollywood
- Twist
Scenes
- Plot: what happens > the consequences
- Story (internal): why it matters > realization > what leading to next enevable and so?
Scope
To much stories in witch the fate of the world was at stake Bigger stakes not equal more powerful stories
Pacing
Pacing, Build up Stimulus delta over moments. Surprise changes moment to moment and our desire.
- slow pacing allow to embrace detail
Tension
tension - Disconnect between goal and current situation and obstacle between those two. - waiting
surprise - audienc dont know about the bomb under the table and are surprised by explosion
suspense - audience know about bomb under table, whitch create suspence
Exposition
Explanation is not as fun as phenomena itself.
Exposition Scene in cinema
- Create a desire to know by arousing curiosity. With hunger for information even most complicated set of dramatized facts will pass smoothly into understanding.
- Dave the best for last
- Deliver surprises based on established rules [Story by: Robert McKee]
Dialog or action - which move plot forward Scenes włozone dla wyjasnienie jak jest plot hole exposition by narration ??
Show and Tell in writing
Showing dramatizes - emotions opinions sensations. deeper and details to feel more connecting to experience
Telling summarize - “Talk is cheap.” Actions speak louder than words
[Craft of Fiction by: Perry Tubbock]
As long as it character think its ok, if it sounds like author butting into explain things you’ve probably fallen into telling [Understanding Show, Don’t Tell by: Janice Hardy]
Stronger showing:
- Don’t show monster but causes it makes u scared
- Avoid opinion related adjectives like: beautiful
- use evidence for claims and let them go to conclusion You want to make. 2+2
- emotions are complex concept and must be demonstrated with concrete details. showing with details
https://www.laphamsquarterly.org/roundtable/ups-and-downs
Dramatic Elements
| Focus | energies into achieving the given goals or objectives of a character in a scene |
| Tension | development of tension usually parallels the advancement of the plot, leading to a crisis or climax. Tension is closely linked with timing |
| Timing | to create contrast in a scene or simply to demonstrate robotic, stylised and non-naturalistic movements. Rhythm and pace are affected |
| Rhythm | timing and pace of the drama. It also means the beat or tempo h. Rhythm can follow the emotional state |
| Contrast | Without the careful use of contrast a performance is boring and lacks tension. A manipulating the drama to create a change in setting, use of space or rhythm. The pace of scenes can also be altered, as can various dramatic elements within one small section of a performance |
| Mood & Atmosphere | ambience or aura |
| Space | such as sitting, bending over, lying down or crawling. Of course, using the space around |
| Language | |
| Sound | |
| Symbol | greater meaning than the literal suggestion. ie Color |
Dramatic moments happening on screen (cutscenes) are less dramatic because you just look without a control
Meta
Post-modern Criticism Skepticism tough meta narrative - Post modernism (large claim to be a true for all people is outdated) (no such think as through knowledge all we have is subjective opinion) [Lyotard (postmodern condition book)]
Meta Narratives
Salvation
- Christian narrative linear in time with premise that sth will change
Modern Progress Narrative
- work in waves of industrial revolutions that are overlapping
Marxist Narrative
- Dialectic Thesis > Antithesis > (Syn)thesis > naw Anty Thesis > (new Syn)thesis > and so on
- Patricians > Plebians > Feudal Lords > Manorial Serfs > Bourgeois Capitalists > Proletarian Worker (Revolution > communism)
Scientific Method
- Ask question > state a hypothesis > conduct an experiment > analyze the results > make a conclusion > go to start
Meaning
Grand narrative behind story. Semiotics symbolism and archetypes. of sign process, which is any form of activity, conduct, or any process that involves signs, including the production of meaning. Model form which other typews are copied.
Phenomenology
World is build from what matter not matter. > meaning is primary >
Archetypes
Archetypes
an original model after which other similar things are patterned; from the Greek word arkhetupos meaning “exemplary.”
In literature an image, story-pattern, or character type that recurs frequently and evokes strong, often unconscious, associations in the reader.
Idea of recurring patterns of situation, character, or symbol they are the common themes that show up in every culture of the world. Archetypes are recurrent, appearing in slightly altered forms to take present day situations and relate them to the past to find meaning in contemporary world.
Archetypical - simple in presentation, bur rich in meaning
Symbols
term, name, or even a picture - possesses specific connotations in addition to its conventional and obvious meaning. More than apparent meaning an inherent multiplicity of meanings with larger “unconscious” aspect Can be analyzed, but cannot be fully explained
Collective Unconscious
Universal through shared by all cultures
Structure of collective mind shared by all humans. Jung: is populated by instincts and archetypes
- Love, Injustice, Freedom, Honor, Liberty, Vengin, Survival, Fear, Guilt
- love sacrifice condemnation forgiveness compassion « moral integrity
Monomyth
Heroes Journey by Joseph Campbell:
You > Establish hero ion ordinary world
Need > Call to adventure. resistance > meeting the mentor >
Go > Crossing threshold
Search > test
Find > aproach
Take > defeat external > reward
Return > more must be done.
Change > death > resurrection > change
Archetypal Events
Claim to apply to all people Common to everyone. Help to understand the world, human behavior, and life’s big questions Universal Morals Regardless of cultural origin or when they where created
| . | ||
|---|---|---|
| Initiation | Accident/breakdown.. psyche read as separation, lost. growing and understanding life. prehistory outside (territory) now inside change. (addice: separation and going to ideal) Opposition to ego . How to make beauty out of pain. 1) Initiation > mentoring > reveal the path of one genius The Dynamics of Transformation in the Human Psyche | |
| The Journey | ||
| The Fall | Fall into underworld loss of innocence and bliss, expulsion from a kind of paradise (Adam & Eve) | |
| Death and rebirth | ||
| Supernatural Intervention | ||
| Natural vs technology | ||
| Battle between good and evil | Obvious forces representing good and evil | |
| Belly of beast | Swallow to unknow ie. Enemy headquarter | |
| Union of opposites | ||
| Rebirth | transformation > caterpillar to butterfly | |
| The Ritual | ||
| Rise Up | ||
| Birth |
Call to noble action
http://www.gcschools.net/gms/sandel/dates/SYMBOLS%20AND%20ARCHETYPES.htm
essential themes:
- growth
- lost and found
Archetypal Symbols
Object color items emojis, familiar in daily life, yet that possesses specific connotations in addition to its conventional and obvious meaning Symbols that occur over and over in different versions of a story. Add to depth of understanding of stories. symbols are anchored in history to ideas
- More than apparent meaning–an inherent multiplicity of meanings
- A larger “unconscious” aspect
- Can be analyzed, but cannot be fully explained
| Weather | Storm, fog, |
| Unhealable wound | sometimes mental |
| Crossing Threshold | |
| Immortality | escape from the time / endless death and rebirth |
| Pain |
Objects
| Apples | |
| Skulls | |
| Masks | hide identity |
Dualities (Polarities, Dialectics)
- to create perfection u must unify with opposite
Binary
Static
- free will vs destiny
- means - instrumental value / for own - intrinsic value
Flux
Dynamic (gradient)
- Yin Yang - Not static but dynamic opposites. relative - 2 sides of same thing growth & decline, cycle. The dots represent the seed of yin within yang and the seed of yang within yin; the idea that neither can exist without the other.
- Dao - way between - live simple
Dualities
| Yin | Yang |
|---|---|
| Black, Dark, Shade, -, Death | White, Light, Sunny, +, Live |
| The Moon, Night, Cold, Winter, Atumn | The Sun, Day, Hot, Summer, Spring |
| Feminine, Discrete, Indirect , Mental, Intuition | Masculine, Obvious, Direct, Physical, Logic |
| Water, Wetness, Ocean | Fire, Dryness, Desert |
| Calm, Faded, Slow, Stillness | Energy, Vibrant, Fast, Movement |
| Inward, Interior, Storage, Frontside, Left | Outward, Exterior, Usage, Backside, Right |
| Even, Quiet, High pitches | Odd, Loud, Low pitches |
| Receiving, Listening | Giving, Talking |
| Connected to whole | Individualized Self |
| Completeness | Perfection (with exclusion) |
| Mother Nature | Father Society Culture |
| . | |
|---|---|
| Linear | Cyclical |
| Chronos time | Kairos Time |
| Monochronic | Polychronic (many cycles in diff time scale) |
| Waterfall | Agile |
| Spiritual Emotion, Art, Morality Feeling | Logic, Intellect, Science Thought |
| Rationality | Intuition |
| Reducing Subtractive | Irreducible Additive |
| Explaining Measuring | Inexplicable Immeasurable |
| Objectiv Truth | Subjective Truth |
| Probabilistic | Deterministic |
| Heaven | Wilderness |
| Growth: up | Decline down |
| thinking strategic | thinking tactical |
| Weight (importance, genre significance) | Weightlessness (lightness, volatility, playfulness) |
| . | |
|---|---|
| Creation, Apocalypse | Deluge (flood) how to conduct yourself if sth. bad happen (prepper) |
| Chaos & Order | positive and negative. but new things come from unknown |
| Innate Wisdom & Educated Stupidity |
Categories
computationalist / biologicalist / quantummechanist
Cycles
The Natural Cycle
Season / Life cycle
| Dawn | Spring | Birth phase |
| Zenith | Summer | Marriage |
| Sunset | Autumn | Death phase |
| Darkness | Winter | Dissolution phase |
Hegelian dialectic: Thesis, Antithesis, Synthesis. then synthesis become a new thesis
Motifs
When cliché is well executed is not a cliché / cliché is when its not driving us to the point
- Desire vs Fear - hope overcome fear
- Something that worked stopped working
- Intrigue around spy
- Who did it
- Checkmate
- you are in loop / ability to move on.
Conflict
‘No conflict, no drama’
- conflict of interests
- Wants vs needs
- Mind (primal mammal) vs Soul (fulfill to have superior existence)
inner conflict
Rational explanations for war (war sis costly and why cant we settle differences at the bargaining table)
- preventive wars - preemptive war
- asymmetric information and incentives to misrepresent
- issue indivisibility
Mystery
Fiction story that revolves around discovering secrets or solving crimes
- known, known unknown, unknown unknow
Emotions
- thrill
- positive
- interest rhythm,
- relationship
Challenge
- believes that are challenged by external conflict
Master Plots
Simplified concepts
The Seven Basic Plots
Theory developed by Christopher Booker a Jung-influenced analysis of stories and their psychological meaning.
| Overcoming the Monster | Sets out to defeat an antagonistic force (often evil) which threatens the protagonist and/or protagonist’s homeland. |
| Rebirth | An event forces the main character to change their ways and often become a better individual. |
| The Quest | Acquire an important object or to get to a location. They face temptations and other obstacles along the way. |
| Voyage and Return | Goes to a strange land and, after overcoming the threats it poses or learning important lessons unique to that location, they return with experience. |
| Rags to Riches | Poor protagonist acquires power, wealth, and/or a mate, loses it all and gains it back, growing as a person as a result |
| Tragedy | Fall of fundamentally good character |
| Comedy | Dramatic work in which the central motif is the triumph over adverse circumstance, resulting in a successful or happy conclusion. conflict becomes more and more confusing, but is at last made plain in a single clarifying event. |
The 36 situations
For Genre Analysis by Georges Polti / Carlo Gozzi
| Daring enterprise, Deliverance, The enigma, Obtaining | |
| Conflict | Rivalry of superior vs. inferior |
| Adultery ,Disaster, Crime pursued by vengeance, Murderous adultery, Madness, Remorse | |
| Conflict with a god, Falling prey to cruelty/misfortune | |
| Erroneous judgment, Fatal imprudence, Supplication | |
| Action | Abduction, Revolt, Pursuit |
| Sacrifice | Ambition, Self-sacrifice for an ideal ,Self-sacrifice for kin, All sacrificed for passion |
| Love | Loss of loved ones, Recovery of a lost one, An enemy loved, Obstacles to love, Discovery of the dishonor of a loved one, Necessity of sacrificing loved ones, Mistaken jealousy, Involuntary crimes of love, Crimes of love |
| Kin | Rivalry of kin, Enmity of kin, Vengeance taken for kin upon kin, Slaying of kin unrecognized |
- grab team , make plan , on piece miss, ll go great (oceans)
- grab team, explain problems, go through, you have other problem at end (Italian job) puzzle
- murder mystery: when to know what happened and see if detective is wiser than us
- romances: wish fulfillments
-
change from inactive to proactive
- rewrite existing story
- unexpected solution to mainstream problem
- a big unexpected question
Characters
Protagonist
Main character. Character revile when human characters make choices under pressure. Driven by external / internal motivations.
- name, birth day, age, best friend, worst enemy, places they have been, things they have done, what want accomplished, what afraid, what like to do, hidden talent, deepest secret, motto, desire, goal, fear, strategy, talent , competence
Antagonist
A person who actively opposes or is hostile to Protagonist.
Character Arcs
change in a character and/or his situation is called an arc.
female power fantasy: Mate selection (choosing the man who fets to continue bloodline) male power fantasy: Kin protection (involv physical power)
True character is reveealed in the choices a human being makes under pressure - the greater the pressure, the deeper the revelation, the truer the chocie to the character’s essential nature - robert McKee
Character Appearance
Archetypal Figures
Fundamental problem of life is how to ack. Archetypes hep to find a meaning and sustain tragedy of life.
Personalities - Jungian archetypes
| Jungian | Purpose | Trait | ? | |
|---|---|---|---|---|
| Hero | Leave A Mark (becoming) | Mastery | Mastery | quest / initiation / sacrifice |
| Magician | Power | Mastery Belonging | ||
| Outlaw | Liberation | Mastery Independence | ||
| Explorer | Yearn For Paradise / Explore spirituality (being) | Freedom | Independence | |
| Sage | Understanding / Empathy | Independence Stability | ||
| Innocent | Safety | Independence Mastery | ||
| Creator | Provide structure (doing) | Innovation | Stability Independence | |
| Ruler | Control | Stability | ||
| Caregiver | Service | Social | Stability Belonging | |
| Everyman | Purpose Connection (belonging) | Belonging | Belonging | |
| Jester | Enjoyment | Belonging Mastery | ||
| Lover | Intimacy | Belonging Stability |
| Campbell | ? | ||
|---|---|---|---|
| Hero | Protagonist | Attempt to resolve conflict | |
| Shadow | Opposite of hero | not always a villain | |
| Mentor | Motivation, inside, Teaching / giving gifts / bad advices /. motivation conscience, sometimes short lifespans | ||
| Threshold Guardian | Henchman, guard of special world, check if hero is fully committed | blocks the progress | |
| Herald | Prophets or messengers. don’t need to be person (dark clouds above) | Announce change, deliver story-kickstarting message, | |
| Shape Shifter | On edge of good and bad | catalysts for crucial story components such as surprises, plot twists, and red herrings | |
| Trickster | Show absurdity of situation, comic relief | ||
| Allies | sidekicks |
- Mother nature. unknow give born to new things
-
Great father great king . Patriarchy opress and crushes you but simul develop you and protect. Its masculine bout it soes not make him a male.
- great mother, father
- devil, god
- Maiden
- Wise Old Man
- Child-like adult
- Adult-like child
story impact
| . | character | ghost |
|---|---|---|
| impact | ||
| no impact |
Dialogues
- character asking question is bad cause its simplest way to introduce plot
Plot Exposition
Character Exposition
Emotional Exposition
Gameplay Exposition
Diction
[The Art of inventing character] book !!!
Action can be: physical, intelectual, emotional
high staker, structue,
Alegorie -
Cloud Atlas
[book: the future of narrative in cyberspace]
What to communicate / What emotions
pace: movement incentives vs deterrent : ehreat objective movement limits, tension
- dystopia in horror - you can not know. because it will destroy scare.
excitement of the mystery - invitation to wander make us tick.
- living up to moral ideas
- power develop with character - things should feel earned (predictable , consistent) Uwaga na power creap ! Dont break a power celling (ktos cos nagle umie )
- emotions are not predictable
- internal / external conflict conected
- trension between 2 polar oposites - to be somwhere between and chose
- .
narrativizing information. there is story behind data banks (not only informative)- hard.
Interpretations
Working with existing text
- Re-adaptation - attempt to faithfully reproduce the original text
- Homages - Value original and subordinate to it their own textual claims
- Updates - Critically or ironically revise
- True remake