Narrativa (Parte I)

Loading...

Do curso por Universitat Autònoma de Barcelona

Diseño de videojuegos

196 classificações

Universitat Autònoma de Barcelona

Diseño de videojuegos

196 classificações

Curso 2 de 6 em Specialization Diseño y Creación de videojuegos

VERSIÓN ESPAÑOL Dentro de la creación del videojuego, ¿qué papel juega su diseño? Este curso proporciona conocimientos y pautas sobre cómo diseñar un videojuego. Partiendo desde un concepto básico, se dan las pautas para trabajar correctamente sus conentidos, de cara a conseguir un objetivo claro: el documento de “game concept” que constituye el documento inicial sobre el que se basa cualquier videojuego. De cara a mejorar la comprensión de los conceptos, los ejemplos y referencias se fundamentarán en videojuegos reales, para permitir así visualizar el documento y cuáles son los resultados finales del diseño descrito en el mismo. IMPORTANTE Puedes seguir el curso también en Inglés (subtítulos y cuestionarios). _________________ ENGLISH VERSION Which role plays design in video games creation? This course provides guidelines and knowledge on how to design a video game. Setting off a basic concept, they give the guidelines to properly work on their contents in aim to get a clear objective: the game concept document is the starting document on which any video game is based. To improve the concepts comprehension, the examples and references will be based on real video games, to help us visualizing the document and which are the final results of the specified design. IMPORTANT You are able to follow this course in English (subtitles and quizzes).

Na lição

Elementos básicos del diseño II

En este módulo continuaremos con los elementos claves del diseño de un videojuego. A partir de la jugabilidad, comentaremos los distintos géneros existentes; también hablaremos del diseño a lo largo del proceso de desarrollo. A continuación nos ocuparemos de la documentación, centrándonos en el game concept document (documento de concepto de juego). Analizaremos como se crea el diseño de nivel y como se consigue una experiencia progresiva a lo largo de un juego. Y para terminar, abordaremos otros elementos de mucha importancia en el diseño, como son la ambientación, la historia, la narrativa y la usabilidad.

Narrativa (Parte I)5:18

Narrativa (Parte II)8:56

Conheça os instrutores

Enric Martí Gòdia
Associate Professor
Computer Science
Pere Nolla Rodríguez
Freelance y Colaborador docente
Ciencias de la Computación (UAB)

Next, we will talk on the stories

told through video games and how we explain them.

As we said when we were talking on experience,

story and narration help the player to motivate and

provoke him interest and increase immersion.

In first place, we distinguish between story and narration as they are two different concepts.

Story is the information transmitted or explained

through a video game inside its virtual and fictional world.

Here we include the things that happen to the characters,

either in their present, their past or their future.

Narrative refers to the different techniques used to tell the

story.

Storytelling is the act of narrating what can be done in different ways.

We must remark that in the case of video games,

as in many films, fiction contents are produced

and created especially for their transmission and consumption.

Story and setting are very close

as environments and characters play a key role in both concepts.

In most cases,

the axis moving the action in the stories is a conflict.

A conflict can be understood as a need, request,

mission, order, desire or questioning given

to a character who is usually the story's main character.

This conflict has an origin, engine or cause in an antagonist agent which

the main character must confront in aim to properly solve the conflict.

The conflict's resolution represents the character's change process.

Usually, this need -or not- to change is associated to a moral problem.

The character needs to make a moral decision in aim to solve the conflict.

This way, stories acquire a symbolic and representative content

that associates the narrated facts with the moral, social

and cultural context of the society in which these stories have been created.

So we can simply say that the stories tell us how one or many main

characters solve a conflict by confronting one or many antagonists.

To explain all this,

they usually use a structure divided in 3 acts.

In the first act, the characters are introduced and a motivating incident

that triggers the action happens.

At the end of the first act,

the first inflection point that defines the conflict happens.

In many cases, during the first act the antagonist has already been introduced.

During the second act, the main character tries to develop strategies

to solve the conflict, but he doesn't succeed.

During this period of constant tries,

other characters develop secondary plots,

some of which are used as a support for the main character.

At the end of the second act, the second inflection point happens.

This is used to put to the limit the main character's

options to solve the conflict, and also

to make him see that he has to somehow change his strategy to succeed.

The third act shows how the main character develops his new

strategy and gains ground on antagonists until he gets to the

final battle, which is the climax.

When this climax is over, there is the ending and

the final goodbye, which is used to meet the main characters

and be able to see the benefits of their changes from their own perspectives.

This structure is present in many artistic disciplines

although it's more evident in the cinema.

To put an example, we will talk on it in the film Back to the Future from 1985.

The first act goes from the beginning to the moment when Marty McFly accidentally travels

to the past, to 1955.

Then the conflict -going back home in 1985- is defined.

In the second act, he tries to get this objective,

contacting doctor Brown to get his help.

But, unintentionally, he causes a problem with his parents, breaking their romance

so he can't go home.

The second act ends when Marty gets away from Beef and buries him in

fertilizer, moment in which his mother falls in love with him,

asking him to take her to the school dance.

In this second inflection point, Marty changes his strategy,

and he tries to give his father confidence to seduce his mother.

During the third act, this strategy works in an unexpected way.

And finally, the father, George McFly, defeats Beef

and wins Lorraine's heart, allowing Marty to go back to the present.

The final climax is the final solution of Marty's conflict,

with doctor Brown's help, gets back to his present.

When Marty goes back to the present they are all alive and safe,

but the situation has changed.

Marty's idea of giving his father self-confidence has progressed,

making them to have a successful life

unlike the family situation at the beginning of the film.

So, the main character's travel is also symbolic,

a symbolism summarized at the word said at the end of the film:

if you put your mind to it you can accomplish anything.

Explore nosso catálogo

Registre-se gratuitamente e obtenha recomendações, atualizações e ofertas personalizadas.

O Coursera proporciona acesso universal à melhor educação do mundo fazendo parcerias com as melhores universidades e organizações para oferecer cursos on-line.

© 2018 Coursera Inc. Todos os direitos reservados.

Baixar na App Store

Baixar no Google Play