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?
If anyone remembers the 2D pictures, which were popular in the nineties, that you had to stare at until a 3D image suddenly appeared, that´s how the challenge felt when trying to make people aware about the narrative. You might also recall how frustrating it was to have people standing over you when staring at the 2D image and hear them saying: “can you see it, can you see it?” and if not seeing “can´t you see it, can´t you see it?” or even worse, “I can´t believe you do not see it!” The only thing the 2D images did was to split people into a “we” and “them” and made them, that didn’t see, frustrated. Continue reading
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