Page 1

Concordia 3D Production in Interactivity


2 8 14 24 30

7

40 48

References

6 Final Concept and Closing Remarks

5 Scene Compilations

4

Town Asset Design

3 Game Asset Design

2 Marina Asset Design

Story Development

Course Introduction

1 8

52


1


Introduction:

My first version of this document was to be a “digital sketchbook” as it would

Part three is on character design and methods to implement. Again utilizing

hold sketches and ideas required for course completion. This version still holds the

images from the internet, we were able to come up with a look for our characters.

content but is arranged to show its process from theoretical readings that aid with

Further narrative descriptions such as demeanor, upbringing, and life’s ambitions

implementing the storyline, to character development, and onward to the creation

helped to characterize them. With Adobe Photoshop and the Wacom tablets were

of assets as they are incorporated into an interactive environment. I then changed

able to draw them for an image source reference to be used in Autodesk’s Maya

the name to a concept story portfolio with “Concordia” as being the name of the

software program.

story. I arranged it in parts, as each part was significant in developing our story. Although part one is this introduction and the reading reviews, these aided us to

I split the next part of Asset design into Game Assets and Scene Assets, part four

look at game history, process, and development when compared to either a

and five respectively. This allowed me to develop separately place of action and the

narrative or ludological approach.

props used in the action sequences. As I modified the story the props or Game Assets could be used anywhere, while scene assets were site specific such as an

Part two is about story development as a lecture looked at how storylines are

exotic port or an island town. This also gives me the option to further develop this

developed through the hero model. Then, by following this example we wrote down

story idea with the expansion of props and locations.

stories, real or unreal, fiction or fantasy. I used a “brainstorming” approach to outline story ideas that could easily be compared. To help pictorialize our stories we then

Finally, part seven deals with references and credits as the story does depict parts

collected many images from the internet. Most of my stories involved mystery and

of my life experiences with the Malay being an actual sailboat built by the Concordia

adventure, journeys and exotic destinations. They were individually all right but as

company in Massachusetts. All other names and events associated with these stories

we narrowed down the stories from ten to five and then to three. I noticed that my

are fictional and purely coincidental. As a prefix to each part, I have explained the

top three stories shared a lot of similar elements. In fact the reference images I used

storyline as it relates to that part and the final concept. Since I utilized not just one

to depict each of the three stories were actually interchangeable. Therefore, I

story from my final three, I found it important to show the transformation as the

developed my story using the characters of one story and placed them into a

final story progressed out of the original storylines. This also gives me the ability to

combination of the other two story ideas.

improve upon the entire concept with the further expansion and development.

Florida Atlantic University

3

MFA in Media, Technology, and Entertainment


Reading Review on Espen Aarseth’s

A Narrative Theory of Games This abstract reminds me of the old cliché: “what came first, the chicken or the egg?” It is this to what really needs to be examined. From the beginning of time we have stories; and these stories have developed into plays, music, the arts, and games. In this present day stories have evolved into electronic games and vice-a-versa, games have evolved into stories. Even more so, is how all have evolved into a product base for commercialism resulting in multi-platform commodities. Maybe all of these components need to be examined for intent, purpose, and venue.

The author has written this abstract for gamers and only those that know games. He uses examples of games that completely eliminate a wider audience for discussion, as one would have had to play them to fully understand his perspective. I think his message could have been delivered if: one, he had provided a clear description of the game; or two, used games that anyone with a computer could recognize. If he were to take the first computer game ever “pong” a narrative approach could be applied when including the player as part of the story; therefore every game played will actually be a different story. Even if he used his two methods to describe game play with “kernels” and “satellites”; the satellites are the players that is what makes each game different and it is the emotions of the players that create the story.

So here we have another author’s strong opinion on the debate of narratology versus ludology approach to game studies. But now he takes a new approach and says that neither can be applied and they cannot be applied side by side. Instead he states in his conclusion that “’games’ as a metonymic label, is the wrong term for ludo-narrative software, and that narrative theory, while necessary, is not sufficient to understand these new forms.”

Furthermore, I wonder why Aarseth took the approach with the common denominators between games and stories. Two thirds of the abstract caters to them by going in depth with world, objects, character and events. These topics alone prove that the only approach is narrotological. And the purpose of this approach would be to evaluate, critique, and award excellence in game creations. Additionally, I feel that the ludological approach could still be used for scientific methods to analyze code and the outcome of it.

If the case and point is only to deliver and to refute Jenkins and others view of the narrotological application of games then, I think the author has failed in doing as his point of view is only delivered to a selected minute audience. I also strongly disagree and believe the all games are narrative based being that as players are introduced the players become part of the story.

3D Production in Interactivity

4

August DeWinkler


Reading Review on Markku Eskelinen’s

Towards Computer Game Studies

Eskelinen also takes the approach of breaking narratology into ludological approaches. I do agree with this, as I am still unconvinced that games are not narratives. He approaches this by topics in his article like “The gaming situation” in

Upon glancing over the reading choices to review, this one caught my eye.

which described by Ehrhmann the player is both the subject and object.

Although I did not want to get into another reading on the debate over the approaches between Narratology and Ludology, this author did have his opinion and states it. But more interesting is the authors approach to classifying approaches to

The majority of the article refers to his next section of “Aspects of time in computer

game studies, which is both interesting and informing. He also uses many inline

games.” In which the narrative spans time, and time measured in game is between

citations that support his thoughts and opinions.

the user time (the actions of the player) and event time (the happenings of the game.) Eskelinen looks at categories to evaluate time in games: Order, Frequency,

Back to the debate over narratology and ludology, Eskelinen takes the stance like

Speed, Duration, The time of action, and Simultaneity. Order is described as the

Aarseth, in which computer games cannot be compared with narrative approaches.

“relation between user events and system events.” Therefore order is presented in

He also states this by using the word “print” as so much of this debate is done in

terms of the player’s action against the event actions of the game. Order does not

writing. I really appreciate what constitutes a narrative according to his citation of

progress if a player does not take action. Frequency refers to the obvious “repetitive

“Gerald Prince and Gerard Genette” as they state “that there must be two things or

actions” as the story does not progress without solutions. Speed contributes to

components to constitute a narrative: a temporal sequence of events (‘a plot if you

pace either by the user or given by the computer. Next duration refers to several

want to water down the concept’) and a narrative situation (‘with both narrators

options in game play like in a timed game. Time of action refers to those by the

and narratees for starter’).”

player in a response to react to game events and finally, simultaneity deals with the players ability in increase or decrease events.

This article goes into a lengthy description with “time” as time is the mode de facto for a narrative. Simply put games are not narratives because a narrative follows

Why are authors so dead set in their ways that they cannot be open to various

a sequence of events that are acted upon. Which only makes the case for games to

methods in game play. Isn’t it safer to admit that some games are narratives and

be clearly a narrative. After all a game is nothing but a sequence of events that

others are not? Why must everything be one way for it to be correct or for it to be

accomplish a goal.

measured by standards that do not fit? Until my mind is changed, I can see a narrative in the simplest of games like Tetris to recent games like Temple Run.

Florida Atlantic University

5

MFA in Media, Technology, and Entertainment


Reading Review on Michael Mateas and Andrew Stern’s

Build It to Understand It: Ludology Meets Narratology in Game Design Space

is purely to coincide with that of a narrative story by applying it to a game style that ludologists might imply as a story space since the player will carve a trajectory

Ok here we go again, the typical debate on game design, which is whether

through it.

narratives can be designed for games. Or can narratives be applied to existing games. But wait a minute; this article takes an entirely new approach. The authors

As I read on through this article it is beginning to sound more like a commercial

actually write a game with a narrative background. The point is that it is almost

as the intent is to promote the game, but the game is free. So what really is this

impossible to apply critiques against games when there are not foundations that the

purpose? Is only to prove that narratologists are right. That is a lengthy process just

games were created with certain standards in mind. After all early electronic games

to prove your right.

such as pinball were about flashy lights and sounds that catered to attract players so

But back to the article, the authors admit to writing it before the release of the

that they would spend money on the game. Therefore was the narrative about

game, and they include reactions from target players. I think they just did not get a

money? Well, that is my opining on early games or those games that were created

good “cult” audience for it as I would compare it to the Rocky Horror picture show

before this debate.

as when the audience yells out insults and wisecracks to the actors on the screen.

Mateas and Stern take this debate up a notch, they actually create a game with

With this in mind the authors do respond to how they can build the game to be

narrative principles. Therefore the game can be studied and analyzed by any of the

more like a game as in winning and loosing or scoring points, after all how does the

ludologists or narratologists. The game is Façade, it is interactive where the player

play know if they are winning?

types in comments and acknowledgements in response to a married couple named

It appears that more underlying then just selling their game the authors are

Trip and Grace, that are have a few marital problems. I think it is a fascinating idea

defending it since it is so Avant-garde when compared to any game on the market.

and after watching the trailer for the game I searched for it but it would not play on

They site authors and defenses like “wicked problems” from Rittel and Weber” in

version of Apple. I am will eventually get it to play on a spare PC. I am not sure how

which “any attempt to create a solution changes the understanding of the problem.

you win at that game as the narratives change with each response. Or I must say, I

They do conclude that even though their game needs refinement, that ludologists’

missed that part in reading the article.

point of view in regards to compatibility of game design with narrative structure

On another note the authors cite the story arc has coming form the Aristotelian,

especially ”including the technical impossibility of generative story systems are over

they use the same principles as outlined in the Hero Model format. Though the basis 3D Production in Interactivity

reaching and premature.

6

August DeWinkler


7


Story Development: Image Ideas for Design References The Cave Story 2 Best of 5 Best of 3 Search for Shangri La • From myths a quest begins • A young traveling explorer To many coincidences happen • Along the coast a cave • Glimpse of light / a vision He meets a girl searching too • They decide to find cave • The chemistry they have One wants to enter • Pleasure into the cave • How far do they go It seems impossible to go • Cold, dark, cramped • Light is seen ahead The quest is found • But only one gets thru • The other comes later The cave is Shangri la • Paradise is found • Happily Ever After

3D Production in Interactivity

10

August DeWinkler


Story Development: Image Ideas for Design References The Boat Original Story 4 Best of 5 Best of 3 A Sailboat’s Memories • Each decades owners • Owners of a Sailboat Birth creation and race • First owners race • Happy times fall to demise The boat is inherited • Times are not so good • The boat is lost by gambling Each owner looses the boat • Death, Theft, Smuggling • With each of the owners The hurricanes destroy it • Boat is ravished • It is pushed into the Glades The boat is recovered • It is sent to be rebuilt • Beyond repair, its auctioned Builder buys the boat • It is restored • It wins the race, again

Florida Atlantic University

11

MFA in Media, Technology, and Entertainment


Story Development: Image Ideas for Design References

The Known Unknown Original Story 10 Best of 5 Best of 3 North Shore Cliffs Murder • Secret Society Rules • He wants to be included Death of he • Story of Suicide or Murder • Death and Flashbacks Camaraderie Vision • Distributed Success • The Good Life Good Life vs Deception • At what cost to have it all • Sacrifices are made It is too good to be true • Good comes at a cost • Is it worth to pay An unexpected death • Who died on the cliff • He did not, someone else? He is part of the good life • But under different rules • Camaraderie with all

3D Production in Interactivity

12

August DeWinkler


13


Marina Asset Design: Image Ideas and References

Boats

Florida Atlantic University

Crates

Dingys

15

Docks

MFA in Media, Technology, and Entertainment


Marina Asset Design: Image Ideas and References

Drums

3D Production in Interactivity

Lifts

Moorings

16

Town / Marina

August DeWinkler


23


Game Asset Design: Image Ideas and References Chests

Florida Atlantic University

Compass Boxes

Compasses

25

Directional Signs

Flashlights

MFA in Media, Technology, and Entertainment


Game Asset Design: Image Ideas and References Lanterns

3D Production in Interactivity

Locketts

Messages in a Bottle

26

Ring Boxes

Rings

August DeWinkler


29


Town Asset Design: Image Ideas and References Building Types

Florida Atlantic University

Columns

Doors

31

Lighting

Paint Colors

MFA in Media, Technology, and Entertainment


Town Asset Design: Image Ideas and References Railings

3D Production in Interactivity

Roofs

Store Signs

32

Streets

Windows & Shutters

August DeWinkler


39


Scene Compilations 1: Christiansted Boardwalk

Florida Atlantic University

41

MFA in Media, Technology, and Entertainment


Scene Compilations 2: Christiansted

3D Production in Interactivity

42

August DeWinkler


Scene Compilations 3: Old Man Matt’s Marina

3D Production in Interactivity

43

August DeWinkler


Scene Compilations 4: Sabo Island

3D Production in Interactivity

44

August DeWinkler


Scene Compilations 5: Foxys

Florida Atlantic University

45

MFA in Media, Technology, and Entertainment


Scene Compilations 6: Journey to Find the Jewler

3D Production in Interactivity

46

August DeWinkler


47


Final Concept:

Concordia is a story about a troubled young man with a father that he never

As Zack earns Old Man Matt’s trust he is allowed to take boat charters out to

knew, unlucky involvements with the wrong kind of people, a secret life from his

the exotic island Sabo known for its exotic spices and herbal extracts. On one ordi-

mother’s past, and the adventure of finding purpose and meaning in ones life. It

nary day a young women named Luka comes to the marina to take the charter out

reminds us of the message “that it is not about our destinations it is about the

to Sabo. She is Australian with a style all to natural, an adventurer with a flare for

journey along the way. Luckily the journey is filled with exotic locations and even

the rugged style of hiking and exploring the outback. She is in search to write about

more exotic people as our character named Zack finds himself on a small island in

mysteries, an avid photographer documenting her travels with blogging and posting

the Caribbean, sent there by his mother to live with a long lost relative, named “Old

pictures to the internet. The marina becomes the main scene asset for the story and

Man Matt”.

interactive game, as it will be filled with clues and puzzles for an exotic life changing adventure.

Zack, our man character is in his twenties, his demeanor in life is good, with a sense of steward ship to the earth. He is lost in his ambitions for a future but has an

Scattered around the marina are shipping crates (Scene Asset 1) and drums

enthusiasm toward adventure and problem solving. He is tanned with unkempt hair;

(Scene Asset 2) filled with the concentrated extracts of the various spices known to

his style is that of a tropical cowboy of sorts. He is a “Jack of all trades” kind of guy,

the island. Boats of all kinds (Scene Asset 3) surround the marina. Wooden docks

always saying yes to any project that approaches his way.

(Scene Asset 4) and pilings (Scene Asset 5) act as moors to hold the boats. Small service buildings (Scene Assets 6,7,8) provide various support functions to the

Old Man Matt is in his sixties, he owns an island marina where he restores boats

marina, dockhands, crew, and boat owners.

and plays dock master to travelers from near and far. His prize boat named Concordia was once a grand fast sailboat that won many races including the

As our characters become acquainted they bond with similar interests and

Newport Classic, a race to Bermuda and back. The Concordia will be a top ship,

discover an island legend of camaraderie, friendship, and love. Old Man Matt the

when it is restored; with a wood hull and lead keel it is sleek powerful and a beautiful

marinas dock keeper has a collection of messages in bottles (Game Asset 1) that he

ship. Old Man Matt was lucky to receive Zack as he could really use the help around

keeps in an antique chest (Game Asset 2) he gives them one of the messages in a

the marina. Together they restore the boat back to its pristine condition from when

bottle and discloses that there are always surprising rewards that happens to people

it was released back in the early 1940’s.

when the solve their message in the bottle.

Florida Atlantic University

49

MFA in Media, Technology, and Entertainment


Closing Remarks:

The message leads them to look for an heirloom ring inside Old Man Matt’s boat.

What a fantastic course, although I fought most of it by citing too much

With permission, Old Man Matt gives them an old flashlight (Game Asset 3) to find

homework, the most I have ever had in a course; but without it the end result would

it. Instead they find the ring box (Game Asset 4) and inside the ring box is a compass

not have been achieved. If I do not finish in the course time allotment, I will finish it

(Game Asset 5) along with a claim ticket to a jewler over in Sabo. The next day they

over the summer, with or without a grade; as it will be an asset to my in progress

all board the Concordia and head off to Sabo to find the jewler. On the way over

portfolio.

Zack is playing with the Compass and he notices the jewlers name from the claim It has been told to me that I might be in the wrong academic program, since I do

ticket is also on the compass.

not have a definitive answer as to what I want to do with the rest of my life. I beg to Old Man Matt knew of the ring, but could never bring himself the courage to go

differ. I am an artist now, gone are my ways of producing construction documents

get it, and even this time he stays on the boat and instructs Luka and Zack to go and

that barely represented my artistic abilities. Although I still have my passion for

find the jeweler. The Jeweler kept the ring knowing that it would not be forgotten

creating presentation drawings. I guess I will always be in search for new experiences

and that some day the rightful owner would show up. Luka asks about the person

to complete my artistic life but it will be with, from, and through education as I find

that left the ring and the jeweler said “that she was quite intriguing, although from

it most rewarding to remain teachable and to help others in their academic careers.

that states he said that she was an island women.” He gives them the ring (Game My ambitions are like Zack my character in this story, maybe aloof but enjoying

Asset 6) and says to them to find her and give her the ring. Her name was Nia D.

the experience along the way. Am I going to be a professor, a digital artist, or a game

Cocor, which happens to be Zack’s mother’s maiden name.

junky cranking out small parts of scenes? I do not know, I do know that I am going The story plays out with Zack discovering that his mother was a truubled girl

to be creative and that my passion in life has been with digital design methods and

from one of the richest families in Boston, she too was sent to the island to find her

getting there has been most of the fun. I just hope that the MFA program

ways but became pregnant by Zack’s real father “Old Man Matt.” As her family

administrators agree and will give me this chance, as I know I will produce

spoiled her rotten to the core; she wanted Zack to grow up unspoiled and without

outstanding artistic representations of my collegiate experiences while at FAU.

knowing of the family’s money and prestige. As Luka points out that it appears that Zack’s mother’s maiden name is an anagram for Concordia the name of the boat.

3D Production in Interactivity

50

August DeWinkler


51


Reading Review Bibliography

Image Credits:

Reading One by Henry Jenkins:

Asset Model Image Renderings:

Game Design as Narrative Architecture

Mental Ray with Autodesk Maya, Release 2014

Reading Two by Espen Aarseth

Character Asset Image Sketches on Pages 26 and 28

A Narrative Theory of Games

Adobe Photoshop, Version CS6

Reading Three by Markku Eskelinen

Image References on Pages 13 thru 22 and 25, 27, 31, 33, 37, 39

Towards Computer Game Studies, Digital Creativity

Due to the quantity they are not individually listed, however, if needed please email me at augusty84@gmail.com and I can provide the sourcing for you.

Markku Eskelinen (2001) Towards computer game studies, Digital Creativity, 12:3, 175-183 Reading Four by Michael Mateas and Andrew Stern Build It to Understand It: Ludology Meets Narratology in Game Design Space

Florida Atlantic University

53

MFA in Media, Technology, and Entertainment


Model Tutorial Credits and Pre-Production Components:

Process and Production Credits:

“Autodesk Maya 2013 Beginner : Simple Crate Tutorial.” 3DeX Tutorials. Web.

Adobe Acrobate Pro:

http://3dextrude.weebly.com. 3DExtrude-Tutorials Inc.

Portfolio File Management and Issuu.com Standardization

“Autodesk Maya 2013 Beginner : Oil Barrel Modeling, Texturing, and lighting.”

Adobe Bridge:

YouTube. Web. https://www.youtube.com/watch?v=KhwHJSyqtiU.

Reference Images

3DExtrude-Tutorials Inc.

Adobe Illustrator, Version CS6

“Autodesk Maya 2013 Beginner : Low Polygon Sword Modeling.” YouTube.

Portfolio Document

Web. http://youtu.be/eEjsidTdrQE. 3DExtrude-Tutorials Inc.

Adobe Photoshop

“Autodesk Maya 2013 Beginner : Treasure Chest Modeling, Texturing, lighting .”

Character Sketches

YouTube. Web. http://www.youtube.com/watch?v=1Q_HyTN2wps&feature=

AutoDesk Maya, Release 2014:

share&list=PLLHHkMn7oRHa6UJYjtPFGTGjuB_PyJQRM. 3DExtrude-Tutorials Inc.

Game Asset Models Unity3D Pro, Version 4.3.4 Game Compilation and Environment

3D Production in Interactivity

54

August DeWinkler


Concordia by August DeWinkler

3D Production for Interactivity Sketchbook  
3D Production for Interactivity Sketchbook  
Advertisement