A schemata is a pattern of thinking that describes our seeking for meaning and how we categorise 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 stylish element from the perspective of the narrative as a cognitive and dynamic element and how it can give meaning to an experience.
I´m pretty sure you´ve heard the phrase, “Show, don´t tell” as a piece of advice when constructing narratives in film. The origin is said to come from the Russian writer Anton Chekhov who thought writers used too many descriptions and adjectives and should leave the interpretation to the receiver. Today the phrase works as an advising technique for screenwriters to avoid having a character knocking at a door at the same time it says: “I´m knocking on the door to see if my friend is at home”.
Have you ever wondered how surprises relate to our emotions beyond physical reactions and the horror genre? Would you like to know how a narrative constructor thinks in the creation of curiosity, surprises and suspense and how the cognitive vehicle of narrative works?
In two earlier posts, I told about two ardent film makers, Ed Wood and Georges Méliesè, who both seized accidents when making their films. Both films brought them fame but in two completely different ways: Wood for the worse film ever made and Méliesè for his innovation of visual and special effects.
When setting up the site I realised when a child passed by and asked, “What is narrative?” that I had beat around the bush. Since adults tend to make things more complicated than they are, and before me I saw a ten pages report about narrative as a not media specific and thought-based system, the child´s question was a disturbing reminder that it was time to grab the bull by the horns.
Quite a while ago when giving lectures in narrative construction even though it was early in the morning my students were already there looking like they hadn’t slept and with their arms folded over their chests. With a defiant look in their eyes, they declared, “We won’t do this”. Continue reading