From out last meeting one of the things we discussed was the dialogue. I started to brainstorm some ideas but the one that stuck out for me was
"Revolutions are a fight between the future and the past. We are the Future! And we intend to clean out the past."
This was for the first part where the Synth overlord is on the laptop screen talking to the man. I figured that the Humans represent the past because they have at this stage had their chance to rule over earth, but fail at this and the Synths take it upon themselves as the representation of the future to clean the wrong doings of the Humans. Very much like in real life how we constantly screw things up and hey we only have one planet, but we don't do a very good job of looking after it.
Later on when we see the synth assassin come in the overlord from the T.V said
"You call us Synths, but we are so much more!"
While I was trying to figure out what he says, I had to find out what these lifeforms were called I juggled a few options such as, Golems, Automatons, Sentinels and Androids to name a few. However I felt Synths worked the best because the word embodies this idea of Techno organic forms very well.
Later on when the man opens his eyes and they appear red and mechanical I thought instead of " we will be slaves no longer!" simply repeating "We are the Future!" from the overlord is a confirmation that he is now one of them.
Wednesday, 16 March 2016
17/03/16-Character Profile X-22
Monday, 14 March 2016
Storyboard-15/03/2016
Here is a final storyboard that I just completed. This was a collaboration between Gabe and myself over the last week. It is still open to change at this stage.
Thursday, 10 March 2016
InteractiveNarrativeBlogWeek2-11/03
Blog 2
Game: Prince of Persia The Sands of Time
Q1: Did linear storytelling in your chosen game engage and excite you as a player? Explain why or why not?
Linear storytelling in games is based around the idea of 'causal logic'. So the actions of the player leads to cut scenes, and those cut scenes lead to more game play. In games, game play supports story and story supports game play. Along with the standard 'string of pearls' formula, there were extra little segments during the game play which keep you focused on the story and objective of the character, for example when you enter a new area the game has cinematic shots to show you the objective or destination and enemies.I think that the game did well to create a linear story where the cut scenes and game play work well enough together to create an engaging and exciting experience.
However I was not completely engaged and excited because the story was to linear, I had to follow a carefully laid out path, fight enemies and go through rooms in a very set order. This for me creates a less engaging game as I feel less meaningful to the story and I don't have as much illusion of choice. Games are about "The satisfying power to take meaningful action and see the results of our decisions and choices",(Janet Murray, Hamlet on the Holodeck, 126) unfold before us, when the game misses that effect the player feels a detachment from the game. A game can have set cut scenes, but I think at the very least the player needs to be able to experience different pathways to that cut scene each play through.
Game: Prince of Persia The Sands of Time
Q1: Did linear storytelling in your chosen game engage and excite you as a player? Explain why or why not?
Linear storytelling in games is based around the idea of 'causal logic'. So the actions of the player leads to cut scenes, and those cut scenes lead to more game play. In games, game play supports story and story supports game play. Along with the standard 'string of pearls' formula, there were extra little segments during the game play which keep you focused on the story and objective of the character, for example when you enter a new area the game has cinematic shots to show you the objective or destination and enemies.I think that the game did well to create a linear story where the cut scenes and game play work well enough together to create an engaging and exciting experience.
However I was not completely engaged and excited because the story was to linear, I had to follow a carefully laid out path, fight enemies and go through rooms in a very set order. This for me creates a less engaging game as I feel less meaningful to the story and I don't have as much illusion of choice. Games are about "The satisfying power to take meaningful action and see the results of our decisions and choices",(Janet Murray, Hamlet on the Holodeck, 126) unfold before us, when the game misses that effect the player feels a detachment from the game. A game can have set cut scenes, but I think at the very least the player needs to be able to experience different pathways to that cut scene each play through.
Thursday, 3 March 2016
Interactiveweek1Blog-04/03/16
Game: Facade
Question: Does your chosen game make user input feel meaningful in terms of story direction and progression? Why or why not?
What I got from the first time I played Facade is that it is an interactive drama which you get thrown into and you are a long time friend of a married couple who are clearly having problems.
Given that this game does have many different outcomes for the story it is very clear that user input does have some sort of meaningful input into the progression of the story. I played the game through to a finish around 5 times and it ended differently each time, for example first play through ended with me being kicked out by Trip, second play through had Trip leave, third play through had Grace leave, fourth play through had them stay together, fifth time had stay together but under different circumstances. What happens depends on multiple things. Key words seem to work well with what the AI does, but at the same time, some words don't seem to compute with the AI. With the story I feel as though it often does try to go to the same point but all we can do as players is delay and direct it to that point. They all ways seem to talk about the same things but just in a different order.
The game heavily relies on the capabilities of the AI and I don't feel that it delivers for the story, because they kept getting stuck in loops (or just stuck) and glitching out. Regardless of this I do feel that the user does still feel meaningful because the user is directly choosing what to type in response to the questions and providing the AI gives a reply the user must feel some sort of interaction on a personal level.
Question: Does your chosen game make user input feel meaningful in terms of story direction and progression? Why or why not?
What I got from the first time I played Facade is that it is an interactive drama which you get thrown into and you are a long time friend of a married couple who are clearly having problems.
Given that this game does have many different outcomes for the story it is very clear that user input does have some sort of meaningful input into the progression of the story. I played the game through to a finish around 5 times and it ended differently each time, for example first play through ended with me being kicked out by Trip, second play through had Trip leave, third play through had Grace leave, fourth play through had them stay together, fifth time had stay together but under different circumstances. What happens depends on multiple things. Key words seem to work well with what the AI does, but at the same time, some words don't seem to compute with the AI. With the story I feel as though it often does try to go to the same point but all we can do as players is delay and direct it to that point. They all ways seem to talk about the same things but just in a different order.
The game heavily relies on the capabilities of the AI and I don't feel that it delivers for the story, because they kept getting stuck in loops (or just stuck) and glitching out. Regardless of this I do feel that the user does still feel meaningful because the user is directly choosing what to type in response to the questions and providing the AI gives a reply the user must feel some sort of interaction on a personal level.
Production Schedule- 04/03/16
4th - 13th of March's schedule.
Stuff in brackets isn't until the week after but is something to work on if everything is finished.
Matthew Coles: Storyboard > Rough Sound > (Clay Maquette)
Rhys McKenzie: Style Concepts > Character Concepts > Environment Concepts > Colour Palettes > (Animatic)
Jacob Knight: Style Concepts > Character Concepts > Character Model Sheet > (Animatic)
Michael Fearon: Style Concepts > Environment Concepts > Colour Pallettes > (Environment Sourcing > Character Profiles)
Gabriel Palomo: Style Concepts > Storyboard > (Modelling)
Above is schedule that the team made for the next week and a half based on our final production schedule. I volunteered to do the clay maquette as I think we can finish the storyboard a bit earlier then expected.
Below is the updated production schedule. The only things that changed were Jacob got a promotion and I got a demotion, something to do with our track records or something. Also we removed two weeks of animation for Michael and Rhys to do the matte painting for the windows.
Wednesday, 2 March 2016
Production Schedule-03/03/16
We all wanted to have a part in the modelling phase so we have tried to divvy up the additional tasks among all the modelling. For example I will model one of the minor parts and at the same time begin working and researching sound for the film, just like Rhys and Jacob will be working on the animatic.
UV is not my strong point so I will help out where I can but focus primarily on the filming and acting of the live action side, the rest of the team will help me out when they can. This was a clear course of action as I have a lot more experience with acting and film then the others, this is the same reason for the editing of the footage in the following weeks.
The second term we all will take part in the animation process and around the side I will be finishing and polishing the sound of the film. However I think i can get the sound done earlier so I will help out with the other parts in the final weeks.
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