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Webdocus. Story Arcs, and the Three Act Structure « Digital Worlds – Interactive Media and Game Design. Just to round off the current series of posts on the story structure (or narrative structure) of a game, I think it’s worth mentioning a few more terms that you’re likely to see if you explore this topic in further depth. First up is the idea of a story arc – this is the principle storyline/narrative thread in a game, (although it may also be refer to one of several coherent storylines in a game, as for example in a game with a threaded structure). Using television or radio soaps as an example, (or equally, serialised comic book stories, or game and film franchises/sequels) a story arc is an extended storyline that may weave several consecutive episodes together in narrative terms, whilst still allowing each individual episode to explore its own, ‘local’ storyline. To contrive an example, a series of inevitable points in a foldback story structure can be used to construct the story arc that plays out through a game as a whole.

The Three Act Structure The Hero’s Journey Like this: Story arc. A story arc is an extended or continuing storyline in episodic storytelling media such as television, comic books, comic strips, boardgames, video games, and in some cases, films. On a television program, for example, the story would unfold over many episodes. In television, the use of the story arc is much more common in dramas than in comedies, especially in soap operas. Webcomics are more likely to use story arcs than newspaper comics, as most web comics have readable archives online that a newcomer to the strip can read in order to understand what is going on. Although story arcs have existed for decades, the term "story arc" was coined in 1988 in relation to the television series Wiseguy,[1] and was quickly adapted for other uses.

Dramatic structure and purpose[edit] The purpose of a story arc is to move a character or a situation from one state to another; in other words, to effect change. The end of a narrative arc is the denouement. Story arcs in television[edit] See also[edit] Arc narratif. Un article de Wikipédia, l'encyclopédie libre. Pour les articles homonymes, voir Arc. Structure narrative[modifier | modifier le code] Exemples[modifier | modifier le code] Séries télévisées[modifier | modifier le code] L'arc de la cinquième saison de Buffy contre les vampires est l'origine de Dawn, la petite sœur de Buffy. Chaque épisode révèle un élément de réponse ou répond partiellement. L'arc s'étend ici sur toute la saison et se dévoile entièrement dans l'épisode final. Mangas[modifier | modifier le code] Dans Naruto, les cycles sont appelés « Arc Majeurs » et sont divisés en « Arcs Mineurs ».Dans Dragon Ball, les cycles sont appelés « Sagas » et sont divisés en « Arcs ».Dans One Piece, les cycles sont appelés « Sagas » et sont divisés en « Arcs ».

Jeux de rôle[modifier | modifier le code] Raphaël Bombayl a introduit le notion d'arc narratif dans les jeux de rôle dans sa campagne Oblis, le pays des brumes[1]. Notes et références[modifier | modifier le code] BBC KNOWLEDGE 60. Meet the Coolest Facebook Brand Timelines From Coke to ESPN to Ford | Digital. Genres...Narrative & Memoir. Our Narrative Workshop's Focus Trait: Idea Development Our Narrative Workshop's Support Traits: Word Choice and Voice In our NNWP workshops, our Northern Nevada participants receive a complimentary copy of the NNWP's print publication, The Going Deep with 6 Trait Language Guide.

This 198-page resource is valued tool in Northern Nevada. Teachers not able to attend our workshops can purchase their own copy of this guide through the NNWP's website; all proceeds from the sale fund the WritingFix website. The best lessons focus more on the writing process than the writing product. While it's important to look at narrative writing as a "product" for inclusion in student portfolios, the more important thing to think about when designing narrative lessons is the skill-set your students will gain from going through the writing process. When we talk about skills in Northern Nevada, we start talking about the six writing traits. We also believe in differentiated instruction at WritingFix. SlideShare: Story Architecture - Crafting Transmedia Design | Partager sur LinkedIn. Productivity Future Vision (2011) Show and Tell (with notes) The True Heart of Social Media - Post-Advertising.

An inspiring thing has happened to our social media feeds in the last week. The tightrope of life and death that we all walk on was exposed for one young entrepreneur. Refusing to take his situation lying down, he’s using viral marketing to raise awareness for his ailment and motivate people across the globe to help save his life. Amit Gupta was a regular ol’ human being like the rest of us. An entrepreneur living in San Francisco, Amit founded Photojojo and Jelly, among many other endeavors—until just a few short weeks ago, when everything changed. That’s when he received a call from his doctor telling him he had Acute Leukemia and needed to pack up and enter treatment right away. Amit is currently undergoing arduous chemotherapy, but his next hurdle is even larger. Enter: the power of social media. One man with a plea for help. There’s no misconception that Amit is the only person of South Asian descent suffering from Acute Leukemia.

Gaming: recipes for new narratives from Failbetter founder Alexis Kennedy. Last week I met with Alexis Kennedy, founder of Failbetter Games and editor of Echo Bazaar, a text game that has received lots of appraisal. Alexis is the first person I have met who can soundly articulate narrative and games together into a unified framework. My video interview with him is embedded at the end of this article, but first let’s go through his main points together. Alexis starts off with an interesting comparison: Some people call for better games by putting more narrative into the mix. But it is like saying that in order to make a better meal you just have to put more of this and more of that.

So how should one go about cooking such a meal according to Alexis? Emergent vs scripted games Games can be divided into two groups that lie at opposite ends of the spectrum. State transitions What makes a scripted narrative powerful is that the character’s status is always relevant to how he handles a given event. The sense of story A powerful story is played at multiple levels. Visualize This: How to Tell Stories with Data. Data visualization is a frequent fixation around here and, just recently, we looked at 7 essential books that explore the discipline’s capacity for creative storytelling. Today, a highly anticipated new book joins their ranks —Visualize This: The FlowingData Guide to Design, Visualization, and Statistics, penned by Nathan Yau of the fantastic FlowingData blog (Which also makes this a fine addition to our running list of blog-turned-book success stories).

Yu offers a practical guide to creating data graphics that mean something, that captivate and illuminate and tell stories of what matters — a pinnacle of the discipline’s sensemaking potential in a world of ever-increasing information overload. From asking the right questions to exploring data through the visual metaphors that make the most sense to seeing data in new ways and gleaning from it the stories that beg to be told, the book offers a brilliant blueprint to practical eloquence in this emerging visual language. Narrative Structures in Data Visualizations to Improve Storytelling. Interactive data visualization has emerged as a complete new field within journalism.

Large editorials like The New York Times, The Guardian, the Economist, the Washington Post all have special teams dedicated to data visualizations only. However, in the recent years, the storytelling potential of data visualizations has been debated. Interactivity Static graphics have long been used to support stories. Graphs and diagrams are used within a larger text to augment the story. Jonathan Harris The upcoming of interactive data visualizations ensures, similar to other mountains in the new media landscape, that the reader isn’t only reading, just like media consumers are no longer only consuming.

Author-Reader Driven In their article, Segel and Heer describe the various aspects of a data visualization as a storytelling medium. The visual narrative genres, together with interaction and messaging, must balance a narrative intended by the author with story discovery on the part of the reader.