TOTAL IMMERSION:

Audiences have always had some kind of immersive experience when listening to music, watching a film or even a play, now the term applies to interactive gaming. The most compelling game experiences are achieved when the player makes a substantial contribution to the advancement of the storyline.

What the player does in an interactive game is called STORY-FORMING, which is related to another concept, ABDICATING AUTHORSHIP.

The writer's desire to create traditional narrative and excercise authorial control over the product often inhibits the player’s ability to be more involved in the 'virtual' world of the game. In the story-forming concept, the contributions of programmers, designers and artists must mesh together seamlessly to give the player/author the feeling that they have genuine control over how the story will play out.

CONSIDER THE STORY CONCEPT: No matter the application or subject matter - there's probably a story in there somewhere. This concept and its validity is what counts in conveying the visual interpretation of a written scene when it has to be broken down into shots, chosen specifically to represent the continuity of the script. Dynamic stories come from interesting characters who include us in their first-hand experience of the plot while exploring locations, events and themes.

A character can be anything from a tube of toothpaste to Napoleon Bonaparte. Remember that it doesn’t really matter who or what the plot is about, the story (or activity) should come from the characters, but it’s better to show us the story than have a character tell us about it.

To devise a storyboard, ask yourself, your collaborators and the client:

• What is the story about?

• Who are the characters?

• What do they do or say, is dialogue indicated?

• Which characters or elements are in the FGD, MGD and BGD?

• With whom are they in conflict?

• Where does the conflict take place?

• How many light sources are needed to illuminate the locales?

• What intensity is demanded?

• What should be the main light sources, for indoor and outdoor scenes?

• Where should the key light be positioned?

• When are long, medium and close-up shots required?

• What kind of reflectors, filters, gels, gobos and cookies are needed to create the right mood?

• What colours dominate the scene?

• What types of sets, costumes and make-up are required?

Whatever multimedia becomes in the future, a good story usually has a beginning, middle and end, perceptible or not. In the same way that a single image can have a visual entry point, a line of attention and a resolution of understanding, so an interactive application engages our logical faculties in a series of cohesive actions that lead us to a satisfying outcome.

All of these elements can be combined to create stories and interactivity:

STORY ELEMENTS:
• Character (Who?)
• Location (Where?)
• Events (What?)
• Plots (How?)
• Themes (Why?)

MEDIA ASSETS:
• Text
• Graphics
• Audio
• Video
• Animation

USER ACTIONS:
• Viewing Media
• Q & A Responses
• Problem Solving
• Role Play/Gaming
• Choices/Selections