{"id":2484,"date":"2015-01-22T10:25:22","date_gmt":"2015-01-22T10:25:22","guid":{"rendered":"http:\/\/memetechnology.org\/?p=3233"},"modified":"2015-01-22T10:25:22","modified_gmt":"2015-01-22T10:25:22","slug":"kernels-and-satellites","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2015\/01\/22\/kernels-and-satellites\/","title":{"rendered":"Kernels and Satellites"},"content":{"rendered":"<p><a title=\"Narrative Structure and Games \u2013 Backstory?\" href=\"http:\/\/memetechnology.org\/2015\/01\/15\/narrative-structure-and-games-backstory\/\">Last week<\/a> I reminded myself that I hadn\u2019t sought out Cohen and Shires\u2019 <em>Telling Stories: A Theoretical Analysis of Narrative Fiction<\/em>, which had been referenced in an article on game narrative. It was low down my list of priorities, mainly because it was written in 1988 &#8211; which feels like ancient history in citation terms. That shows in chapter one, where defining \u201cnarrative\u201d as recounting \u201ca story, a series of events in a temporal sequence,\u201d the authors explain that:<\/p>\n<blockquote><p>our culture depends upon numerous types of narrative: novels, short stories, films, television shows myths, anecdotes, songs, music videos, comics, paintings, advertisements, essays, biographies, and news accounts.<\/p><\/blockquote>\n<p>Games aren\u2019t mentioned, and I guess that\u2019s no surprise, given that in 1988 computer games were still a relatively youthful medium, and the audience for games were relatively youthful too. The investment of Hollywood amounts of money in game narratives was still a twinkle in programmers eyes. If they looked at games at all back then, the authors might well have consciously excluded them from their analysis, because, the central premise of their book is \u201cthe events making up a story are only available to us through telling\u201d, which might (arguably) exclude the procedurally generated narratives that most games provide.<\/p>\n<p>But one of their ideas does have some relevance to game narratives. The article I looked at last week made reference to this passage (page 54):<\/p>\n<blockquote><p>From the vantage point of a completed sequence, events function either as kernels or as satellites. Kernel events raise possibilities of succeeding or alternative events \u2013 what we can call, taking the term rather literally, \u201ceventuality.\u201d They initiate, increase, or conclude an uncertainty, so they advance or outline a sequence of transformations. Satellite events, on the other hand, amplify or fill in the outline of a sequence by maintaining, retarding, or prolonging the kernel events they accompany or surround.<\/p><\/blockquote>\n<p>In game narrative terms this is a neat summary of how games work as a storytelling medium. In more scripted games such as Red Dead Redemption, the sequence of Kernals is quite rigid, and the satellites are optional or even (in the case of games like Skyrim) procedurally generated. I remember nearing the end of RDR: I\u2019d helped John Marston, the character the game had been following, to track down and (mostly) kill his old buddies from the gang he had run with, and confront his old boss, who throw himself off a mountain. Marston had been given back his farm, and wife and child, and the game challenges had become less about death and destruction, and more about production and family life &#8211; rounding up cattle and and the like. Then a blicking icon had appeared on the game map, telling me that I was ready to play the nest kernel event.<\/p>\n<p>I didn\u2019t want to, I knew the game was nearing the end, and having discovered Marston\u2019s life story, I knew it wouldn\u2019t end well. I wanted to prolong the rural idyll of farming, hearth and home. So I found satellite quests to prolong the current kernel. I became obsessed with beaver hunting, promising myself I wouldn\u2019t play on to the next kernal event until I\u2019d found the five beaverskins a crazy glider pilot Marston had met in Mexico needed for his glue. I spent days and days hunting beaver. It became a running joke with my wife.<\/p>\n<p>But after shooting the first two, it seemed the beavers had gone into hiding. There was beaver drought, it seemed, by every river in the gameworld &#8211; and yes I did try every one. So with a heavy heart, I turned John Marston back towards his fate. Damn, was I emotionally engaged.<\/p>\n<p>But even in purely procedural games, the idea of kernels and satellites works. As <a name=\"http:\/\/memetechnology.org\/2013\/07\/05\/is-the-narrative-in-the-game-or-in-the-head\/\"><\/a><a href=\"http:\/\/memetechnology.org\/2013\/07\/05\/is-the-narrative-in-the-game-or-in-the-head\/\">Tynan Sylvester<\/a> points out, in a game like The Sims, the narrative is reliant on the interpretation of the player:<\/p>\n<blockquote><p>This story was co-authored between the player and the game. The game simulated some simple event (attraction between redhead and roommate), and the player ascribed meaning to it (jealousy and frustration) the same way he might have for the Michotte balls, even though that emotion was not actually in the simulation. The next part of the story was cued by him when he orchestrated the murder. The game simulated the logistics of firey deaths, but the sense of sorrow and revenge was, again, ascribed completely by the player. Most of this story is apophenia \u2013 present of the Player Model, absent from the Game Model.<\/p><\/blockquote>\n<p>While not talking about games, Cohen and Shires manage to predict how the random calculations of a procedural game can become an emotionally engaging story:<\/p>\n<p>While kernels may appear to function as primary events and satellites as secondary ones, satellites are as important as kernels to a story sequence. Furthermore, an event\u2019s status as a kernel or satellite depends entirely upon a particular sequence and not on the event itself, which does not possess the ability to advance or amplify a transformation on its own. An event acquires its kernel or satellite function for a given sequence through its placement in the sequence, because the sequence is what sets the events in relation to each other.<\/p>\n<p>I like to play Civilization, which is an example of unscripted, procedural game. Some games are more satisfying than others, when the random generation of events becomes, in my mind, the thrilling story a plucky little nation that could. Sometimes, despite my best efforts to manage my nascent state \u201c<a name=\"http:\/\/en.wikiquote.org\/wiki\/Harold_Macmillan\"><\/a><a href=\"http:\/\/en.wikiquote.org\/wiki\/Harold_Macmillan\">events, dear boy, events<\/a>\u201d conspire to make the game boring &#8211; but the advantage of procedural games is that if its boring, you can start again. Well designed procedural games are the ones that keep you restarting because of the all the great narratives you\u2019ve discovered on previous plays. Ones that are consistently boring don\u2019t get restarted, they get turned off.<\/p>\n<p>The challenge for cultural heritage sites is that they can\u2019t be restarted, so a purely procedural approach of interactive narrative would not be constructive. Some degree of scripting &#8211; the selection and ordering of narrative kernals is required.<\/p><br \/>  <a rel=\"nofollow\" href=\"http:\/\/feeds.wordpress.com\/1.0\/gocomments\/memetechnology.wordpress.com\/3233\/\"><img alt=\"\" border=\"0\" src=\"http:\/\/feeds.wordpress.com\/1.0\/comments\/memetechnology.wordpress.com\/3233\/\" \/><\/a> <img alt=\"\" border=\"0\" src=\"http:\/\/pixel.wp.com\/b.gif?host=memetechnology.org&#038;blog=43249545&amp;%23038;post=3233&amp;%23038;subd=memetechnology&amp;%23038;ref=&amp;%23038;feed=1\" width=\"1\" height=\"1\" \/>","protected":false},"excerpt":{"rendered":"<p>Last week I reminded myself that I hadn&rsquo;t sought out Cohen and Shires&rsquo; Telling Stories: A Theoretical Analysis of Narrative Fiction, which had been referenced in an article on game narrative. It was low down my list of priorities, mainly &hellip; <a href=\"http:\/\/memetechnology.org\/2015\/01\/22\/kernels-and-satellites\/\">Continue reading <span>&rarr;<\/span><\/a><img loading=\"lazy\" decoding=\"async\" alt=\"\" border=\"0\" src=\"http:\/\/pixel.wp.com\/b.gif?host=memetechnology.org&amp;blog=43249545&amp;post=3233&amp;subd=memetechnology&amp;ref=&amp;feed=1\" width=\"1\" height=\"1\"><\/p>\n","protected":false},"author":337,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[184,297,561,690,755,786],"class_list":["post-2484","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-civilisation","tag-emotion","tag-narratology","tag-red-dead-redemption","tag-skyrim","tag-storytelling","column","threecol"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kernels and Satellites - Archaeology Blogs<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2015\/01\/22\/kernels-and-satellites\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kernels and Satellites - Archaeology Blogs\" \/>\n<meta property=\"og:description\" content=\"Last week I reminded myself that I hadn&rsquo;t sought out Cohen and Shires&rsquo; Telling Stories: A Theoretical Analysis of Narrative Fiction, which had been referenced in an article on game narrative. It was low down my list of priorities, mainly &hellip; Continue reading &rarr;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2015\/01\/22\/kernels-and-satellites\/\" \/>\n<meta property=\"og:site_name\" content=\"Archaeology Blogs\" \/>\n<meta property=\"article:published_time\" content=\"2015-01-22T10:25:22+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/feeds.wordpress.com\/1.0\/comments\/memetechnology.wordpress.com\/3233\/\" \/>\n<meta name=\"author\" content=\"Matthew Tyler-Jones\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Matthew Tyler-Jones\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2015\\\/01\\\/22\\\/kernels-and-satellites\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2015\\\/01\\\/22\\\/kernels-and-satellites\\\/\"},\"author\":{\"name\":\"Matthew Tyler-Jones\",\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/#\\\/schema\\\/person\\\/a61d3a83f159c463727cd087c1ce643e\"},\"headline\":\"Kernels and Satellites\",\"datePublished\":\"2015-01-22T10:25:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2015\\\/01\\\/22\\\/kernels-and-satellites\\\/\"},\"wordCount\":1022,\"image\":{\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2015\\\/01\\\/22\\\/kernels-and-satellites\\\/#primaryimage\"},\"thumbnailUrl\":\"http:\\\/\\\/feeds.wordpress.com\\\/1.0\\\/comments\\\/memetechnology.wordpress.com\\\/3233\\\/\",\"keywords\":[\"Civilisation\",\"Emotion\",\"Narratology\",\"Red Dead Redemption\",\"Skyrim\",\"Storytelling\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2015\\\/01\\\/22\\\/kernels-and-satellites\\\/\",\"url\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2015\\\/01\\\/22\\\/kernels-and-satellites\\\/\",\"name\":\"Kernels and Satellites - 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In my free time, I volunteered as a costumed interpreter at Kentwell Hall and, with re-enactment societies, at various medieval sites around the UK and France. When, one evening, a few of us said \u201cwe could make a business out of this\u201d I left my job at the bank to go to college, first to get an Art Foundation and then to Manchester Polytechnic to join an innovative course called Design for Communications Media. I specialised in Educational Media Design, with the intention of applying what I was learning to cultural heritage. 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Subsequently, I enrolled in the new Distance Learning delivered Masters\u2019 degree in Museum Studies at Leicester University, where I became interested in the social use of space, particularly Bill Hillier\u2019s \u201cspace syntax,\u201d and the increasing futility of cultural heritage sites trying to tell doggedly linear stories in three-dimensional spaces. Although my dissertation explored models for mapping interpretation, and particularly learning styles, onto spaces, a satisfactory reconciliation of linear story and three-dimensional space eluded me. After graduation, I decided my time in the \u201csmall business\u201d end of cultural heritage was over for a while, and I left JMD&amp;Co to join a cultural institution, the National Trust, as a Regional Community, Learning and Volunteering Manager. 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In my free time, I volunteered as a costumed interpreter at Kentwell Hall and, with re-enactment societies, at various medieval sites around the UK and France. When, one evening, a few of us said \u201cwe could make a business out of this\u201d I left my job at the bank to go to college, first to get an Art Foundation and then to Manchester Polytechnic to join an innovative course called Design for Communications Media. I specialised in Educational Media Design, with the intention of applying what I was learning to cultural heritage. During my vacations and upon graduation I worked for the nascent company my friends had started, Past Pleasures, creating immersive living history festivals at Lancaster and Tunbridge Wells, as well as projects including: an exhibition for the centenary of the Commonwealth Institute; a design for a metafictional Sherlock Holmes exhibition in Croydon; and, a game that combined real-time investment advice from 300 year-old characters at the Bank of England Museum with a digital simulation, tracking the players\u2019 investment portfolio from the founding of the bank to its tercentenary. In 1996 I helped found JMD&amp;Co, and for two years I also lectured on Heritage Tourism and Visitor Management and Interpretation modules for a Portsmouth University validated HND\/degree course at Farnborough Technical College. Subsequently, I enrolled in the new Distance Learning delivered Masters\u2019 degree in Museum Studies at Leicester University, where I became interested in the social use of space, particularly Bill Hillier\u2019s \u201cspace syntax,\u201d and the increasing futility of cultural heritage sites trying to tell doggedly linear stories in three-dimensional spaces. Although my dissertation explored models for mapping interpretation, and particularly learning styles, onto spaces, a satisfactory reconciliation of linear story and three-dimensional space eluded me. After graduation, I decided my time in the \u201csmall business\u201d end of cultural heritage was over for a while, and I left JMD&amp;Co to join a cultural institution, the National Trust, as a Regional Community, Learning and Volunteering Manager. I brought the first National Trust iPad into use at Batemans, where, combined with a wax cylinder record player, and the help of renowned folk singer, Jon Boden, we\u2019ve returned Rudyard Kipling\u2019s voice back into his old home. However, one of the innovations which I am most proud of is the National Trust\u2019s virtual tours. Working with a small company, and a range of disabled stakeholders, we created a touch-screen based human computer interface that could also, if required, be controlled with other input devices, and allowed visitors with a variety of disabilities to fully enjoy the virtual tour. The teams\u2019 achievement was recognised with a Jodi Award for Excellence in accessible digital media in 2008.","sameAs":["http:\/\/memetechnology.wordpress.com\/"],"url":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/author\/matthew-tyler-jones\/"}]}},"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/posts\/2484","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/users\/337"}],"replies":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/comments?post=2484"}],"version-history":[{"count":0,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/posts\/2484\/revisions"}],"wp:attachment":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/media?parent=2484"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/categories?post=2484"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/tags?post=2484"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}