NARRATIVA EN LOS VIDEOJUEGOS

1. NARRATIVA

2. NARRATIVA EN NOVELAS & PELICULAS

4. ELEMENTS OF THE PLOT All fiction is based on conflict and this conflict is presented in a structured format called PLOT. Exposition. The introductory material which gives the setting, creates the tone, presents the characters, and presents other facts necessary to understanding the story. ForeshadowingThe use of hints or clues to suggest what will happen later in the story. Inciting ForceThe event or character that triggers the conflict. ConflictThe essence of fiction. It creates plot. The conflicts we encounter can usually be identified as one of four kinds. (Man versus…Man, Nature, Society, or Self) Rising ActionA series of events that builds from the conflict. It begins with the inciting force and ends with the climax. CrisisThe conflict reaches a turning point. At this point the opposing forces in the story meet and the conflict becomes most intense. The crisis occurs before or at the same time as the climax. ClimaxThe climax is the result of the crisis. It is the high point of the story for the reader. Frequently, it is the moment of the highest interest and greatest emotion. The point at which the outcome of the conflict can be predicted. Falling ActionThe events after the climax which close the story. Resolution (Denouement)Rounds out and concludes the action.

5. FREYTAGS PYRAMIDPLOT ANALYSIS

6. PYRAMIDS CAN BE FRACTAL

8. TheHero’sJourneyDeparture TheCalltoAdventure Refusal of theCall SupernaturalAid The Crossing of the First Threshold Belly of TheWhale

9. Initiation The Road of Trials The Meeting With the Goddess Woman as Temptress AtonementwiththeFather Apotheosis TheUltimateBoon

10. Return Refusal of theReturn TheMagic Flight RescuefromWithout The Crossing of the Return Threshold Master of TwoWorlds Freedomto Live

11. CHARACTER. THE HERO’S JOURNEYJoseph Campbells (Monomyth) http://en.wikipedia.org/wiki/Monomyth#Departure

13. MAIN CHARACTERS THOMAS ANDERSON / NEO TRINITY MORPHEUS THE ORACLE AGENT SMITH CYPHER

14. NEO Faces hisfears Vulnerable Doesn´tbelieve in himself Selfish Neo believesishoursavoiur Wears a cape (clog) Handsome

15. PLOT THE ORACLE TELLS NEO THAT HE HAS THE GIFT AND THAT HE MIGHT HAVE TO CHOSE BETWEEN SAVING MORPHEUS AND SAVING HIMSELF Neo is able to perceive the Matrix as the streaming lines of green code it really is

18. PERIPECIA NEO IS TAKEN BY THE AGENTS

19. HAMARTIA NEO DOESN´T BELIEVE HE IS THE ONE

20. CATARSIS PEOPLE BELIEVE IN THE STORY AND FEEL EMPOWERED.

21. ANAGNORISIS NEO TAKES DE RED PILL NEO SEES THE TRUE MATRIX

22. INSPIRATION

23. INSPIRATION

24. INSPIRATION

25. INSPIRATION

26. PRODUCTION TECHNOLOGY

27. NOVEL AND VIDEO GAME SHARING NARRATIVE

28. TOOLS IN THE MATRIX TELEPHONE LINES BUG EXTRACTOR BLUE PILL RED PILL IN THE REAL WORLD EMP. ELECTROMAGNETIC PULSE KNOWLEDGE UPLOAD

29. POWERS BEND PHYSICAL LAWS STOP BULLETS FLY SEE THE FUTURE TAKE ANY PERSON’S ON THE MATRIX’S BODIES

30. RULES IN THE MATRIX FREE MINDS CAN BEND RULES, SOMETIMES BREAK THEM. IF YOU DIE IN THE MATRIX YOU DIE IN REAL LIFE. IN THE REAL WORLD ONLY MATRIX BORN HUMANS CAN ENTER IT

31. BACKGROUND THE YEAR IS AROUND 2199 NOT 1999 HUMANS ARE AT WAR WITH I.A. MACHINES HUMANS SCORCHED THE SKY TO BLOCK MACHINES ACCESO TO SOLAR ENERGY. MORPHEUS BELIEVES IN THE PROFECY OF THE “ONE” THAT ONE IS “NEO”

32. SCENARY -STAGE THE MATRIX NEBUCHADNEZZAR POST ACPOCALLYPTIC WORLD ZION

33. STYLE MARTIAL ARTS FIGHTS FASHION MUSIC

35. CICLO:Problema – Derrota – Aprendizaje – Solución – Derrota – Redención - Triunfo

36. MotivationforPlayingGames Fantasies Personal Satisfaction AvoidingBoredom Socialice Defeattheundefeatable.

37. Instintos Avanzar Explorar Repetir Atacar Defender Resolver Cooperar Descubrir

38. LOSCLASICOS Uno Backgamon BuscaMinas Solitario 3 en Linea 4 en Linea Go SpaceInvaders PacMan SideScroller Platformer 3rd PersonShooter

39. INTERFACE La audiencia y el juego están separados por una interfaz que los comunica. Los jugadores controlan objetos a través de joysticks, wiimotes o mouses.

40. Interfaz Curva de Aprendizaje Appeal Requisitos de Hardware Sincronización en Tiempo Real

41. PLAYER MAKING DECISION El jugador decide cual de todos los caminos tomar para acada acertijo

42. REAL TIME Todo sucede mientras se juega

43. FEEDBACK El juego le deja saber al jugador el resultado de sus decisiones

44. ACCIONES Mayor numero de acciones estratégicas Acciones que afectan la mayor cantidad de objetos Acciones que pueden cambiar el balance del juego temporalmente. Acciones Secretas Acciones necesarias e inevitables Acciones espectagulo Acciones Humoristicas (pocas y espaciadas)

45. APRENDIZAJE Distintas curvas de Aprendizaje, Pictográficas, Habilidades, Sorpresa Emoción Novedad Appeal

46. PISTAS - TUTORIAL Disponibles siempre por primera vez Opción de Evitarlas

47. Opciones de Jugador Uso de la Interfaz Física Selección de Dificultad “Save” de Progresos Persistencia de Avances (Escenario, Habilidades Virtuales, Inventarios , Puntaje mayor, Puntaje menor, Tiempo de Juego

48. MULTITHREADED STORY

49. Ruta Critica Comportamientos deseados son recompensados Herramientas necesarias son antes del acertijo que las requiere o durante. No tiene que ser la elección lógica de los usuarios en todos los casos

50. OBJETIVO Resolver Problemas Evitar Problemas Aprovechar la Situación

51. DESTINO DEFINIDO POR EL CREADOR Aleatoriedad Rutas Criticas Evolución de la Dificultad

52. SORPRESA Peripecia Humor Shock Ciclos Aleatorios dentro de Patrones predecibles.

53. DECISIONES Decisiones Relevantes Acciones Riesgosas Recompensas Relevantes Castigo Relevante pero no desmotivador Decisiones inesperadas Decisiones infalibles por tiempo limitado

54. PUZZLE El jugador debe resolver acertijos para avanzar en la historia

55. Acertijo Retador Con retroalimentación Evitable Relevante a la historia Usa habilidades y conocimiento obtenido anteriormente en el juego

56. LOGICA Reglas consistentes Reglas verosímiles Evolución justificable No Interfieren con Acertijos Hacen parte de acertijos

57. ESPECTACULO Sonido Video Animación 3D Autenticidad Shock

58. Estrategias Planeación Anticipación Preparación

59. RECOMPENSAS Anheladas Útiles Relevantes Difíciles de Conseguir Implican un Riesgo

60. CASTIGOS Sencillos Irrelevantes Medianos Severos Evitables Causas Claras Relevantes