infovore + plot   10

In The Shadow of the Holodeck – Charles J Pratt – Medium
This is really good. I had some beginning-threads of thought at the time of the Bogost article that I just couldn't frame, and in the meantime, CJP has run with similar threads, a good dose of history, and come to some sharp conclusions, and basically reminded me what I actually think. So I'm just going to point at this to say "yes, I think this, and this is better expressed than I could ever have put it". Strong stuff.
games  narrative  charlesjpratt  ianbogost  writing  story  plot  interaction  design 
may 2017 by infovore
Science fiction, fantasy, design and cultural invention | Design Culture Lab
"A lot of design is very good at stories; far less design is good at plot–and I’m convinced that we need the latter if we want design to serve, as Jack Schulze puts it, as a form of  “cultural invention” instead of problem-solver." Strong stuff on design fiction, the value of urban fantasy, and considering possible realities.
annegalloway  design  designfiction  stories  plot  fantasy 
august 2011 by infovore
Plot has consequences — Sophie Sampson
"Robert Downey Jr really sells the idea of being a design engineer. To be fair, the Iron Man script does him the great service of having him have to build himself a new heart in a cave in Afghanistan, thus having to make imperfect things and fettle them to fit. That feeling gets slightly lost later in his super-engineer pad where apparently nothing needs filing when it comes back from the rapid prototyping machine. But he still manages to exude a kind of mad joy at making things, a fundamental character trait in the way that having nice breasts is not." Sophie on the emotional truths of storytelling.
games  writing  plot  narrative  storytelling  sophiesamson  truth  masseffect2 
march 2011 by infovore
Joe Moran's blog: Hole in the wall
"The interesting, or arguably uninteresting, thing about this programme is that it is completely lacking in any sort of narrative arc. All the other programmes on Saturday night are a gift for a narratologist: with their judges’ scores, audience votes and dance-offs/sing-offs, they are all crisis, crescendo and narrative resolution. But Hole in the Wall is different. It’s just celebrities going through these differently-shaped holes in the wall, again and again and again... Hole in the Wall is the groundhog day of Saturday evening light entertainment." Saturday-night audiences like a good plot.
joemoran  plot  narrative  tv  entertainment  holeinthewall 
november 2009 by infovore
GameSetWatch - Column: 'Homer In Silicon': The Romance Problem
"What's needed, from a gameplay perspective, is a romantic partner who is sometimes also functionally the villain. There's a reason people write buckets of fanfic about the secret love of Draco Malfoy and Harry Potter: passionately clashing with someone is a form of intimacy. It raises the emotional stakes between those two characters _far_ more reliably than attempts to portray attraction in interactive form." Emily Short on fine, fine form, about the difficulties of writing romance into games. An excellent piece of writing on game design.
games  design  romance  narrative  conflict  plot 
september 2009 by infovore
Traffic Department 2192 | Narrative Flood
"[Our heroine's] name is Marta Louise Velasquez, and she’s quite possibly the most unpleasant female lead character in the history of gaming. She’s also what makes TD2192 worth remembering." Indeed, I have many. She did not lead a happy life, I'll give Richard that.
td2192  games  narrative  story  plot  shareware 
june 2009 by infovore
Have videogames and reality TV given us 'narrative exhaustion', asks legendary screenwriter Paul Schrader | Film | The Guardian
"Storytelling began as ceremony and evolved into ritual. It was commercialised in the middle ages, became big business in the 19th century and an international industry in the 20th. Today it is the ubiquitous wallpaper of the postmodern era." I still think there's some separation of plot/narrative to be considered, you can't deny Schrader makes some sensible points.
narrative  media  plot  storytelling  film  paulschrader  writing 
june 2009 by infovore
GDC Takeaway: Tiny, Tiny Stories « Save the Robot - Chris Dahlen
"Many deep, sophisticated emotions can emerge from those three plots. But they should emerge in the experience, in the actions the players take, in the reactions they receive, in gestures and decisions and deaths and tasks and achieving or failing to achieve a goal. They should not emerge from people sitting around talking to each other in a cartoon." Chris Dahlen on post-GDC09 narrative.
games  narrative  story  chrisdhalen  writing  character  plot 
april 2009 by infovore
Fullbright: Storymaking
"...video games are driven by the player, experientially and emotionally. Fictional content--setting, characters, backstory-- is useful inasmuch as it creates context for what the player chooses to do. This is ambient content, not linear narrative in any traditional sense. The creators of a gameworld should be lauded for their ability to believably render an intriguing fictional place-- the world itself and the characters in it. However the value in a game is not to be found in its ability at storytelling, but in its potential for storymaking." Some commentary on the scale of storymaking games offer, from Steve Gaynor. Also: I like the word "storymaking", as opposed to "storytelling".
games  narrative  story  mechanics  stevegaynor  plot  pace  storymaking 
february 2009 by infovore
Patsquinade - How my not-great plot happened: a mini post-mortem
"An interesting article at Rock, Paper, Shotgun tackles BioWare's tackling of issues tackling modern society, tackling one of my Mass Effect plots in the process. I responded in the comments, and after looking at how much I yammered on, I figured it was worth posting here as a look inside how these things get into the game, and why some things that seem dumb get done." Patrick Weekes follows up the RPS post criticising his own plot elements with some frank self-criticism, and some interesting explanations; a reminder of how hard creating any kind of meaningful choice can be.
rockpapershotgun  writing  games  masseffect  bioware  criticism  postmortem  plot  story  narrative  choice 
august 2008 by infovore

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