The title Putting into play is inspired by the term mise-en-scene, which means, “putting into the scene” (or “put on stage”). The term had its origin in theatre and was later picked up by film scholars to have a way of referring to the practice of directing, planning and controlling the elements for the desired effect on a stage or in a frame of a film. Since the term isn´t established in games but where the concept could provide an overlook of the stylistic elements that are to be organized and arranged in the creation of a form; my intention is not to put a new term into play. What I will “put into play” are the thoughts that precede the choice of elements that are to become the parts of the desired form of an engaging and dynamic game system.
On request, the text provides a short guide to the 7- grade model of reasoning that was mentioned in the series “Narrative bridging on testing an experience” (links to the series can be found at the end of the text), and where the framework for the model can be found in the publication: “Tracking the evolution of causal cognition in humans” (2017), written by Marlize Lombard, professor in Stone Age archaeology, and Peter Gärdenfors, professor in cognitive science at Lund´s University (see reference and link to the publication at the end).
As the series is about how to assure the quality of an experience from a narrative perspective beyond structures and templates, there are two recent structures that I haven´t mentioned yet that we will have to pass as to access the narrative from a cognitive perspective.
I wonder if you remember the feeling that slowly came over you when you wrote what would become your last letter to Santa? If you have never written to Santa or, you are still writing, maybe you have the experience of buying a lottery ticket and is thus able to recognise the feeling of doubt when questioning your beliefs, intentions, and desires, as to why you are putting hopes into something you know won’t correspond to your desires? The feeling I´m trying to describe is the same I have every time I return to science in matters that concern the narrative, which is complicated, to say the least. So in January, I decided to settle the relationship, with the same confidence I had when writing my last letter to Santa I wrote my last words to science in my text “Are you a man or a mouse.”
Based on a question on how to use the narrative in the testing of an experience I will explain what it means to have a cognitive approach to the narrative and how to approach a quality assurance from a narrative perspective beyond templates and strong structures.
Don´t get confused if you recently heard me wishing you a great summer and then I pop up again. But the other day when a teacher asked me if I knew “gamification” I just couldn´t resist making another post.
A schemata is a pattern of thinking that describes our seeking for meaning and how we categorize information and store it in small boxes that we call our memory, which forms our experiences and knowledge. What meanings we are creating from a narrative perspective is not easy to tell. However, what isn´t that unpredictable and arbitrary as we might think are the schemata that are running like a goal-oriented vehicle that makes us look for causes and consequences in familiar patterns.
Thus the reality for they who work with narrative construction within the game industry is to work with a story-driven/based genre I will revisit the conditions I described in the first part of the series “Don´t show, involve” when I paired up the writer Vince Gilligan (creator of the television series “Breaking Bad”) and the game designer Jenova Chen (the creator of the online game “Journey”). Since the story and the gameplay are seen as two separate elements within the game industry, which easily leads to the creation of two premises to be merged into one (1) form I will take a closer look at dialogues as a stylistic element from the perspective of the narrative as a cognitive and dynamic element and how it can give meaning to an experience.