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 make us look for causes and consequences in familiar patterns.
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?
For many years ago, I lived in a rainforest until one day I couldn´t stand not being able to see the horizon and the only thing I was staring at was my skin looking for leeches that appeared from nowhere looking like a stroke of a pen on the skin. If not being attentive to the thin black line and remove it quickly, it wouldn´t take long before you found a lump, big as a plum, attached to the skin that had to be unscrewed. The only thing I felt sorry about by leaving was to miss the yearly event when people from the distant and widely spread cattle stations gathered in the village to find a life companion. It was the biggest event of expectations I had ever experienced until E3 turned up.
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.
How the game industry understood narrative, wasn’t really a big issue (the problems should be found somewhere else). As I always worked within entertainment, I never thought of a narrative from any other perspective than to deliver a feeling of something worth spending time on and where the goal was to give something people didn’t know they were missing. Continue reading
I was recently asked if I could show a perfect narrative composition for everyone to see. There aren’t any, I replied, and remembered the puzzled faces when giving lectures in narrative design when I avoided answering which video game I liked; since if I did I was likely to receive concepts that looked the same.