{"id":981,"date":"2013-06-14T15:53:10","date_gmt":"2013-06-14T15:53:10","guid":{"rendered":"http:\/\/memetechnology.org\/?p=2780"},"modified":"2013-06-14T15:53:10","modified_gmt":"2013-06-14T15:53:10","slug":"a-little-epiphany","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2013\/06\/14\/a-little-epiphany\/","title":{"rendered":"A little epiphany"},"content":{"rendered":"

Today I saw a diagram that looked a bit like this:<\/p>\n

\"Branching<\/a><\/p>\n

It was in the chapter on Narrative from Tynan Sylvester’s Designing Games<\/a>. He explains that with this this sort of structure, “any given player misses most of the content”. There’s another problem too – with this sort of structure, it’s incredibly difficult to pace the emotional rhythm of the narrative. Christopher Vogler, the screenwriter uses Joe Campbell’s Jungian analysis of Mythic structure to demonstrate how the emotional rhythm changes pace in the course of a story.<\/p>\n

\"The<\/a>

The Hero’s Journey Model from Vogler, C. 2007. The Writer\u2019s Journey 3rd Edition, Studio City: Michael Weise Productions, 8<\/p><\/div>\n

In his book, Sylvester draws a curve that echo’s Vogler’s model, and describes how such an emotional curve can occur even in an unscripted game:<\/p>\n

For example, take a multi-player match of capture the flag in any shooter … As the timer runs low, the stakes increase, and with them the tension. At the end of the match, the game approaches a climax of intensity as the players try to capture their last flag and turn the game in their favor. Afterward, the players have a few moments to cool off at the score screen. The pacing curve they experienced follows the classic three-act story formula, but instead of being predefined, its generated a little differently every game.<\/p><\/blockquote>\n

Sylvester doesn’t acknowledge it, but the key phrase in this description is “as the timer runs low.” With multiple players choosing from variety of actions with every event, the narrative path is infinitely branching, but the time limit is a mechanic (in game terms) that forces an emotional climax. Its the same in sport, think of the emotional stress that supporters are under for the final few minutes of a game of football. Basketball is famous for introducing all sorts of timing rules to make the game more emotionally compelling to the audience. Without a mechanic like a time limit the emotional impact of a narrative would be infinitely diluted by the infinite possible endings of a branching structure.<\/p>\n

Now, think about the how cultural heritage institutions plan their interpretation. Many follow a model like the one Judy Rand describes in Building on your ideas <\/em>(in Bicknel, S. and Farmello, G., eds. 1993. Museum visitor studies in the 90s<\/em>, London: Science Museum). In such a model, one starts off with the main message, or theme, which she describes as the “single most important idea you want people to leave with.” With the theme in place, and informing all the subsequent decisions, one will arrange all the other story elements or messages into three categories:<\/p>\n

A primary<\/strong> message is one that we feel we must<\/em> communicate to a sizeable number of our visitors (albeit to fewer than the main message)… A secondary<\/strong> message is one we feel we should<\/em> communicate to the visitors (although we expect even fewer visitors to receive these messages… [and] a tertiary<\/strong> message is one we feel it might be nice<\/em> to communicate to visitors (but we expect few visitors, if any, to get these)<\/p><\/blockquote>\n

Rand explains that this process is more than an arrangement of the relative value of the messages, it suggests a floorplan, with primary messages becoming sub-divisions of the exhibition and secondary messages indicating the contents of individual exhibits. I must admit that I go through a very similar thought process when I first look at a new interpretive challenge. But looking at Sylvester’s diagram gave me a little epiphany.<\/p>\n

Lets look at my version again, but this time with labels from Rand’s model.<\/p>\n

\"Branching<\/a><\/p>\n

Sort of fits doesn’t it? And it makes me realise that without the challenge imposed by mechanics like an opposing team and a time limit, this structure sets us up for a narrative with a very dilute emotional climax. What it means, is that by default, musuems and other heritage sites frontload the story revealing the emotionally engaging \u00a0parts of the story early in the experience, sometimes even in the introductory video. The challenge is to retain the pacing curve so that the emotional climax happens nearer the end of the experience. One solution is \u00a0the \u00a0Thoughtden\/Splash and Ripple project for National Museums Scotland, which address the issue by adding, yes…\u00a0\u00a0an opposing team and a time limit:<\/p>\n

<\/div>\n

Given that not every cultural heritage site wants to be turned into a game of Capture the Flag, how do we retain some emotional structure in the story we want to tell? \u00a0Games, Sylvester tells us, use side quests and story convergence:<\/p>\n

Side quests put a piece of content on the side of the road, which can be consumed or not, but affects little on the main path. Story convergence offers choices that branch the main storyline, but later converge back to a single line… Often though we need to combine story-ordering devices in a more nuanced was to fit the needs of the game… This hybrid structure is popular because in combines so many advantages. The designers get to script a careful introduction which introduces the story and the game mechanics. During the softly ordered central portion, the player feels free and unconstrained. Finally, the game’s climax can be carefully authored for maximum effect.<\/p><\/blockquote>\n

Sounds great. But how do we apply that to real world spaces?<\/p>\n
\"\"<\/a> \"\"","protected":false},"excerpt":{"rendered":"

Today I saw a diagram that looked a bit like this: It was in the chapter on Narrative from Tynan Sylvester’s Designing Games. He explains that with this this sort of structure, “any given player misses most of the content”. … Continue reading →<\/span><\/a>\"\"<\/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":[297,353,786],"class_list":["post-981","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-emotion","tag-games","tag-storytelling","column","threecol"],"yoast_head":"\nA little epiphany - 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\/2013\/06\/14\/a-little-epiphany\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A little epiphany - Archaeology Blogs\" \/>\n<meta property=\"og:description\" content=\"Today I saw a diagram that looked a bit like this: It was in the chapter on Narrative from Tynan Sylvester’s Designing Games. 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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&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&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&Co to join a cultural institution, the National Trust, as a Regional Community, Learning and Volunteering Manager. 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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\/981","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=981"}],"version-history":[{"count":0,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/posts\/981\/revisions"}],"wp:attachment":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/media?parent=981"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/categories?post=981"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/tags?post=981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}