Storytelling In Storytelling

The structure of the film Stories We Tell is a documentary, but not in a traditional style or sense. A traditional documentary is a film that generally provides a factual record or report. National Geographic documentaries are a popular example of this. What makes Stories We Tell different, yet still a documentary, is that it uses the individual’s perspective instead of an omniscient observer’s perspective. The interviews were evidence of the film being a documentary, as it asks for specific people for their view, their “report” on the topic that is being discussed in the film. Factual evidence is included, yet is slightly different due to different people’s perspective on the stories, memories of Diane and the whole mystery behind Sarah’s biological father. Near the ending of the film, Sarah states that she would like Harry to hold off from publishing their story, and instead publish it as a documentary. What makes this film a documentary is not that it displays facts and reports of realism, but a message of some sort, from the director. This film begins with a story to tell, eventually ending with discussion on

Many video games use visuals to mentally immerse gamers into a virtual world filled with seemingly living, breathing people, animals, or cities. According to Michael Samyn and Auriea Harvey, game designers for Tale of Tales, video games increasingly develop into a true medium of artistic expression (Lamb). In just forty years, video games transformed from an abuse of the new computer for entertainment purposes into a sophisticated form of popular art. The development of video games recently produced results that arguably equal other similar, representational arts. Video games share many qualities with other forms of art, but they are also artistically significant in their own way. “This seems to be something

Normally when one thinks about observing a creative activity they immediately think of sports or the arts, their mind being flooded with images of dancers gliding across a stage, painters swiping their brush across a canvas, or strong-abled bodies dribbling a ball down a field. All of these activities are undoubtedly creative, but as American society has grown and changed with advancing technology, so has the way people are able to engage in creative processes and events. In the last fifty years, the gaming world has exploded, bringing with it a new form of creativity. From electronic gaming to board games and live action role playing games (RPG), these new forms of competitive entertainment have been laying the foundations for a new outlet of creativity.

Stories come in many forms, such as drawings, paintings, photos, videos, film/movies, etc. All of these forms can be detailed even though some don’t include any words being spoken. Storytelling has captured the human imagination for thousands of years, because before people started writing, story telling was the only way to pass on information. According to http://school.eb.com/levels/middle/article/277912 “Anything a culture wanted to preserve—its beliefs, its history, and its traditions—had to be told out loud.” Every story orally told changes over time because when you you listen to a story that is being told verbally you can not remember the entire story word by word forever, you will forget some words and change the story a little bit

Video games change the way people can interact with a narrative. Braid is a puzzle video game that communicates its narrative through snippets of text and game mechanics. Braid plays with perception and truth like other fiction novels but the medium also allows it to play with time and its affects on perception. This video game uses special game mechanics to deepen the player’s understanding of the given text in order to tell a story.

Creativity and a vast imagination allows many adventures to go on inside the mind. Audrey Taylor, a 13-year-old, loves to go on exhilarating “journeys” with the characters Mario and Luigi. Influenced by video games, her ability to pull off convincing imitations of many characters has improved greatly as she had started playing at the age of 7. “Their lives were interesting,” she stated. “I just wanted to be a part of that and experience it in my own way.” Although this skill may not seem to contribute much to other subjects, her imagination and creativity could greatly assist her in career of gaming and as an aspiring author. She is already on her way to achieving this as she spends her free time writing unique and artistic pieces.

Video games are extremely popular today. The video games industry keeps progressing at the fast pace. However, video games are not a mere entertainment. Instead, video games are complex phenomena, which affect the audience consistently. At the same time, video games can have a considerable impact on aesthetics and the spacing in video games has a considerable impact on the perception of video games and how they affect the audience.

Journey, an indie game released in 2012 by thatgamecompany, is not especially known for stellar dialogue between characters. Rather, the game’s narrative is explored by the players as they travel through the levels. Players have to make their own conclusions on where to go, what to do, and what the purpose is for their journey. The atmosphere of the game is immersive, and the developers actively tried to invoke the player’s sense of wonder and adventure as they progressed through the game. This is only further aided by the orchestral soundtrack composed by Austin Wintory. Overall, the game is well worthy of being called a work of art. Smuts also agrees that, “Since the primary goal of most game design is to enhance such aesthetic experiences, it would seem that we have good reason to evaluate games as art works” (Smutts).

In the beginning video games such as Spacewar! (1962) started with little to no graphics displayed on small black and white oscilloscope screens.
As technology in video games improves so does our ability to display larger more detailed graphics and images, leading to beautiful hand drawn and animated games such as Dark Stalkers (Capcom 1994) and Lori and the blind forest (Moon Studios 2015). Along with this improvement in technology and graphics, the search for more immersive experiences has also grown whether it be the NES Power Glove (1989), Battle Tech centres (1990) or the HTC VIVE (2016) the game industry wants to take the immersion that one step further.
But how important is realistic visual representation to the flow of a game? Csikszentmihalyi believed that there are eight elements of flow within video games; a task that can be completed, the ability to concentrate, clear goals, immediate feedback, a sense of control, player skill matching challenge, self concern disappears, sense of time being altered. The aesthetics within video games don 't seem to effect any of the elements Csikszentmihalyi has given us and yet we strive for bigger and better graphical experiences to increase the realism of our gameplay.

Bissell explores the two types of narrative in video games, framed narrative and ludonarrative, and how these two narration styles don’t work well when combined. Bissell states that he believes that if someone figured out how to merge these two forms of narration, a new form of storytelling would be formed.

Every story has must be formed with a sort of backbone for it to make sense or come together cohesively. That backbone can be referred to as the elements of storytelling which every good story must consist of. These elements of storytelling are exposition, narrative spine, theme, arc, and plot and character. Here are the meanings of these elements and examples of how they play out in different storytelling aspects. Explosion is something ever story must begin with for your audience to understand where the story is headed.

In addition to presence, our suspension of disbelief can aid in creating an immersive game experience (Breda, 2008). Suspension of disbelief is important to all forms of entertainment, allowing users to look past a medium’s inconsistencies and barriers to immersive. Examples include: accepting the impossible stunts in a movie, supernatural elements in a book, or even visual bugs in a video game. Wirth et al. suggest that actions as simple as feeling the book’s pages while reading, or seeing the method of interaction (mouse and keyboard) can distract the user from the experience (Wirth et al., 31). As participants in a medium, we choose to overlook certain features of the experience, disengaging our critical eye to better interact with the

Rather than viewing the aforementioned gamer’s practices as grounded in a particular context (e.g., a living room or a video game or an affinity space), focused on a particular activity (e.g., writing or watching a video), ortied to a particular modality (e.g., print, digital), it is possible to conceptualize such practices as part of a transmedia ecology in which participation in literate practice is distributed across time, space, and media platform, and coheres around a particular storyworld. A traditional storyworld is a fictional universe with invented characters, settings, and characteristics that has been

Egenfeldt-Nielson (2014), suggests that studying games from a lens of exploration, will fill the space that ludology and narratology fail to fill. This failure is identified by the limitations of each of the two fields where they separately focus more on different genres of games. Narratology seems to have its strength in studying systems like adventure games where storytelling and narrative plays a more important role in overall gameplay experience. In this type of game a ludic point of view has less to contribute to the discussion, however, ludology is better suited to analyzing games of strategy and action genres. Therefore limiting our views to those of only ludology and narratology leaves a gap in our understanding. All game genres should

Besides art based on nature, storytelling is the heart of Waldorf education. Children under seven years are introduced to fairy tales and nature stories. As they progress to an elementary stage, they are introduced to folk fairy tales where they learn about diverse cultures, fables which teaches them moral values, and folk fairy tales about ancient times and historical events These stories form the basis of basic education.