Putting into play – The hidden art of pacing 2 (3)

The Hidden Art of Pacing is a three-part trip that takes you on a journey to trace the core of the hidden art of pacing by stripping familiar story and game structures from standard elements to discern the engaging and motivating forces that trigger the receiver´s building of experiences, feelings, and expectations.

If you would like to read the first part, here is the link to The Hidden Art of Pacing 1 (3)

Driving a car is often used as a metaphor to describe the pacing of accelerating and decelerating information. The art of pacing examines how you can inconspicuously engage the receiver’s thinking and the strength and speed at which the receiver processes causal, temporal, and spatial networks. In doing so, you make it possible to utilize the drive behind the motivation to understand. This was something I became aware of when I moved from scriptwriting to game design. Evident was the difference between engaging and motivating someone. It elucidated the balancing of providing and withholding information, which deepens the experience, emotions, and expectations of the receiver.
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Putting into play – The hidden art of pacing 1 (3)

The Hidden Art of Pacing is a three-part trip, which takes you on a journey to trace the core to the hidden art of pacing by stripping familiar story and game structures from standard elements to discern the engaging and motivating forces that trigger the receiver´s building of experiences, feelings, and expectations.

Before shifting to interactive media, I wrote story arcs for films and television series. The technique of scriptwriting was to follow your gut, establish a conflict, take it to a climax, and end it with a twist. The receiver’s engagement was built into the dramatic story structure, which meant that focus was laid on the character’s motivations, relations, and behavior. As long as the audience stayed seated and the ratings were good, work continued as usual.

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Part 6, Putting into play – On organizing engaging and dynamic forces

“Putting into play” is part of a project whose goal is to offer a hands-on approach to the design of an engaging and dynamic game system from a narrative and cognitive perspective. The series illuminates how our thinking, learning, and emotions interplay when the designer proceeds from scratch to reach the desired goal of a meaningful and motivating experience. 

Before initiating the hands-on process of organizing thoughts and feelings at the start of the design process, I will explain the dynamic forces behind your prime tool as a narrative constructor. The tool is more of an advantage derived from the rapid pace by how our mind is processing information that you employ in the same manner as a magician engages the receiver’s perception, attention, and awareness.

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Part 5, Putting into play – On organizing thoughts and feelings

“Putting into play” is about how our thinking and understanding work when putting the thoughts into play towards the desired goal in the making of an engaging and dynamic game system. The series is a part of a project whose goal is to offer a hands-on approach to the design of a motivating and meaningful experience from a narrative and cognitive perspective which illuminates how our thinking, learning and emotions interplay.

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Part 4, Putting into play – How to trigger the narrative vehicle


“Putting into play” is part of more than a one-year-long project which goal is to explain from a cognitive and narrative perspective the mind and hands-on approach to the design of an engaging and dynamic game system. With help from cognition-based models, the focus is on the opportunity to explore how our thinking, learning, emotions work when setting out from scratch towards the desired goal.

To make the most of the post, I recommend reading Part 2 and 3 of the series Putting into play, which provides an orientation.  

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Part 2, Narrative bridging on testing an experience

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.

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