“Amanita Design’s Machinarium starts by throwing you into a big pile of trash. You must literally rebuild yourself in a dump before you can go any further, and when you do, there are few details given about your predicament and the world you inhabit. Mostly you are left alone to inspect every element of the robotic ecosystem around you, with just the occasional glimpse of a memory to spur you on.
Minimalist narratives are not new to gaming. Both old-school and modern games have made wonderful use of storytelling tactics that omit details in favor of creating a sense of ambiguity, leaving the rest up to the player’s interpretation. The indie game scene, in particular, has taken up this mantle in recent years, creating games that spin just enough of a narrative thread to keep the player intrigued without giving anything else away.
However, Machinarium’s approach to the minimalist narrative is pretty unique.
The game contains very little text, and instead relies heavily on contextual clues to relate gameplay information to the player. Additionally, the many robots that inhabit Machinarium’s lovingly-realized mechanical world do not speak in any recognizable manner. They make noises and pantomime things to each other, but without text and speech, a lot of the developments we’ve made in storytelling over the past few centuries become irrelevant.”
◎ “The initial writing is just in a text document, it’s all written very linearly, but then at some point you have to sit down with a special piece of software that Telltale use that helps you visualise all of the different branching paths more visually, it looks kind of like a flow chart. It’s very overwhelming at first, but over time you get the hang of it, and it makes it much easier to see the different versions of the scenes happening in parallel, and visualise how the different narrative paths connect when different conditional things either happen or don’t happen.
There are certain decisions, particularly that one at the end, there are so many different ways that that scene can play out, not just the eight different outcomes, but also the multiple different ways to get to those outcomes. There is so much that has to be taken into account, that just figuring out the logic and making sure that the way that the scene is wired up is correct, is really kind of overwhelming. It can look good on paper, but you often don’t know if it’s going to work until you actually play the game and start pressing buttons, trying a permutation to see if the characters are responding the way that they’re supposed to. Oftentimes they don’t, and you have to go back in and fix it, making little changes along the way. It’s very very daunting.”
◎ “To some extent, there’s basically one set story. You have some latitude within that story to affect elements of it, but at the end of the day you’re playing the story that we want to tell you. You get to tailor it, or customise it to your liking to some extent, make different choices, decide who lives or dies, and you see those choices become more consequential as the season goes on with more things to take into account.
But, at the end of the day we are still telling you a story. You don’t get to radically re-write the story yourself, you get to polish and edit it a little bit, and make it unique to you. And really, until we have the resources and capability to have really really divergent branching storylines, this is what it’s going to be for a little while.”
Más allá de noticias escandalosas y de dudosa veracidad como supuestos abandonos por mensajes revelados y el lógico malestar de algunos usuarios azuzados por el propio gobierno francés, el supuesto fallo que ayer provocó que en Francia se revelaran centenares de mensajes privados de sus usuarios denota que algo no funciona correctamente en la estructura del gigante de las redes sociales.
Por supuesto se puede argumentar que un fallo siempre es posible en cualquier sistema. Sin duda eso cierto, pero frente a los errores, tanto humanos como porvenientes de imprevistos de caracter técnico, siempre se pueden implementar medidas eficaces de control que impidan mayores percances. Incluso si como parece probable las explicaciones de facebook son verídicas y se trata de un error de percepción de los usuarios. Según declaraciones a al BBC de un representante de la compañía se trata de viejos mensajes en el muro de los usuarios que siempre estuvieron a la vista.
Google lanza su software de aceleración para sitios webIntelDig - Inteligencia DigitalEl gigante de las búsquedas culminó un proyecto que se extendió pro dos años y que buscaba que las páginas web carguen más rápido con el lanzamiento de la...
"So, how do you tell a story in the digital age that stands out, captures people’s attention and gets them to act, engage with your institution? My favourite story for quite some time now and one I’ve been showing in workshops around the world is the story of the Troy public library."
Ok -- the author here isn't writing anything revolutionary. So you can skim the text. But watch the 2.5 minute video! It's the reason I selected this piece.
The video is brilliant -- and a perfect example of how story triggers can make a difference in social causes and social cause marketing.
The video is about a library. It is controversial. Now I am a big fan of libraries so I was rooting for it (my personal bias). And the video itself is a really good example of a digital story.
I say 'story triggers' because the library used story elements and metaphors that sparked stories within the viewer's/reader's brains. The library did not actually tell a full-blown story yet the public reaction was immediate and powerful.
If you’re only developing content with consumption in mind, you’re missing a huge opportunity to keep momentum going as prospective buyers move through the buying cycle.
I've said this before -- biz storytelling is about engagement, not simply broadcasting messages.
This is the first article I've found that actually tries to break down the different types of conversations you want your biz stories to spark or serve.
I disagree with the distinction between dialogue and conversation. I think a better distinction to make is between messaging and conversation. And stories are often shared within a conversation. Conversations are not necessarily storytelling. So that is my nit-pick for today.
I really wish the author, Stephanie Tilton, would have included examples for each type of conversation mentioned. She tries to explain the different conversations but I need examples this morning in order to get ideas for how to apply her advice. Or maybe I'm just too tired this morning!
So there are 2 lessons here -- 1) target your storytelling to the conversations you want to promote and help along; and 2) make sure when you write content you give examples so you don't make it so hard for your readers to apply your insights.
I also really like the point the author makes about shifting from talking to listening, and shifting to serial storytelling in your business.
OK -- I'm heading into the kitchen for some more coffee!
Failure has been a trending topic on Education Unbound recently, particularly in regards to the disconnect between educational objectives and game-based learning (GBL).
We know that many games "depend on players failing multiple times as the primary means of learning how to overcome obstacles." How does this compare to education, where the "notion of failure is bad"? This post by Justin Marquis explores this issue in this first of a two part series.
¿En que consiste un buen posicionamiento web? Desgraciadamente, son muchas las empresas que ofrecen servicos de posicionamiento en buscadores web que no se preocupan por el futuro de sus clientes o les engañan con un servicio de mala calidad. Ofrecen campañas de SEO -por lo común por un importe muy elevado- para colocar una web entre las primeras posiciones para una búsqueda específica en un breve periodo de tiempo. Muy amenudo estas compañías emplean estratégias y técnicas prohibidas por los estándares Google, lo conlleva pasados unos meses -una vez sus clientes ya han abonado la cantidad acordada- una severa sanción por parte del principal buscador, llegando incluso en determinados casos a que la web en cuestión sea borrada de la base de datos de Google. Evite desastres, contrate servicios fiables y contrastados.
Una empresa desarrolla asistentes virtuales para interactuar con las ...Finanzas.comUna empresa de tecnología semántica desarrolla asistentes virtuales que permiten a los clientes interactuar con las páginas web y mejorar el intercambio de...
“Successful marketing makes the customer the hero of a story. There are only so many basic plots out there. Twenty, if you’re listening to Ronald Tobias. Seven, if you prefer Christopher Booker. Three, if you follow Robert McKee. And just one if you’re a Joseph Campbell fan.
For now, we’re going to discuss two basic plots, and how the principles of storytelling and storyboarding can help you develop an editorial narrative with your customer as the Hero, and spot any “holes” in the plot that your current strategy might have.
• It’s Your Customer’s Journey
First, we’re going to look at The Quest, which is reasonably similar to Campbell’s “Hero’s Journey.” It’s the classic adventure plot. Hero is faced with a challenge. He/She attempts to overcome the challenge a number of ways, each ending in failure. Finally, the Hero is successful and receives his/her reward. I’ve seen this plot applied to storyboarding customer experience. The basic idea is to take a customer persona, and walk them from the problem, through different possible solutions, to finally success and their benefit. Notice the similarities?”
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