Syllabus: CTWR 518
Introduction to Interactive Writing
Spring 2008
Instructor: Paul De Meo
Class Schedule: Tuesday 10:00 AM-1:00 PM
Email:
Course Description
What is meant by the term “interactive”? There is no set definition, but for the purposes of our class, we’ll describe it as a work that invites or even demandsparticipation. And, through that participation, the participant creates a unique, personalized experience or story.
Through active engagement, a reader, viewer,listener, or player might choose a path through the work, or help define its structure, or order its sequence. A participant’s role may be to add to the work or find a way to finish it. The work’s intention could be to train, educate, entertain, challenge, or provoke. Or, the work may be designed as a “sandbox”, with no agenda other than immersive exploration or play.
Interactive works often intentionally break or subvert the traditional linear structure of story telling or information display. The creator may also combine visual, aural, tactile, and other sensory stimuli to more fully immerse the participant in the experience.
In this class, our goal is to examine the writer’s place in various interactive formats.
We’ll contrast writing for interactive media with writing for traditional linear models, and discuss its specific demands. We’ll take a look at interactive fiction,theatre, films, television programs, video games, simulations, and other electronic media, past and present.
We’ll also include certain live events and created environments such as amusement parks.
And, of course, we’ll get “interactive” with the subject at hand by writing or otherwise creating content in various formats.
Course Schedule
January 15: Week 1
Why Are We Here?
Introductions and general class overview. We’ll discuss what we hope to accomplish and run through the syllabus.
January 22: Week 2
Breaking Traditional Structure:
What makes a “story”? What are our expectations? And, what happens when the storyteller invites participation or allows the structure to be altered, demolished, or reassembled?
How are we conditioned to accept or interpret sequential visual information? What are some historical or traditional examples? And what happens when the sequence is altered?
Assigned reading:
To prepare for next week’s class, please read Robert Coover’s short novel Briar Rose(Grove Press). Also, take a look at The Electronic Labyrinth at
Throughout the course, recommended books, films, and so on are optional, but will help illuminate our topics:
Recommended reading:
Scott McCloud’s Understanding Comics is an entertaining and thoughtful book on “sequential art” and visual storytelling.
Recommended viewing:
If you haven’t seen it, (or if you have, it’s worth a second look) Christopher Nolan’s filmMemento is a great example of non-traditional story structure. More difficult to find is the film Betrayal, written by Harold Pinter (currently not on DVD), which is less mind-boggling but more emotionally compelling. This is the story of a marriage falling apart, told in a reverse chronology.
Further exploration on your own will turn up other films with non-conventional story structure.
January 29: Week 3
Hypertext and Other Wordplay:
Defining Hypertext and its applications. Class discussion of assigned reading. We’ll also look at familiar text-based interactive works such as the Choose Your Own Adventure book series and the Zork computer games.
February 5: Week 4
“Real Life” Interactive Worlds, Part 1:
A look at “Pre-Cyber Age”interactive environments such as world fairs and expositions, historical recreations, and theme parks. We’ll discuss the design, philosophy, and psychology of the Disney parks, arguably the most refined modern examples of living, fiction-driven interactive spaces.
Written assignment (due February 12):
Imagine and describe a theme park or other created environment. You may use a well-known fictional source/characters or historic era/event/personalities, or create something original.
What physical spaces, rides, interactivities, and so on could we find there? Who is your “target audience”? Is your intention to entertain, enlighten, challenge, or instruct—or some combination of those ideas?
Simple diagrams and maps, your own or pre-existing art, or any other visuals or media to help describe your creation are encouraged. The only restriction is to use current (or older) technology—otherwise, this is a chance to build your own “Land”.
February 12: Week 5
“Real Life” Interactive Worlds, Part 2:
Presentations:
In-class presentations, discussions, and critiques of theme park assignments.
Discussion:
Time permitting, we’ll discuss how emerging or extrapolated future technologies might impact theme parks and other “real life” interactive environments.
February 19: Week 6
Interactive Film and Television:
Discussion:
A comparison of traditional and interactive films and television: What are the basic differences and challenges for the writer? What works and what doesn’t? Does the serialized nature of television create a better environment for interactivity? How does current technology (e.g., special feature-heavy DVDs) offer new interactive opportunities?
February 26: Week 7
Transmedia, Part 1:
The next two sessions will examine how a traditional intellectual property or “IP” (a novel, a comic book, a film) might expand into multiple media, including video games and other interactive formats.
What sort of established IP better lends itself to interactivity? Does the IP contain a compelling world and/or dynamic characters?
What are some familiar examples? What are the values of a “brand name”? What are the disadvantages?
Written assignment (due February 27):
Identify an existing IP from any traditional medium. Keep in mind the criteria we discuss in class as to suitability. Your source could be a comic book, fairy tale, film, novel, etc. Write a paragraph or two to summarize the content of your source—more may be needed if it’s something not generally familiar.
Propose and detail an interactive expansion for your established IP. This could be a video game, environment, website, etc.
March 4: Week 8
Transmedia, Part 2:
Presentations:
We’ll discuss and critique your “Expanded IP” proposals.
Discussion:
Now that we’ve examined the established IP, we’ll discuss the original IP. How do we build a potential transmedia concept from the ground up? What elements should be in place? Who is the intended audience? What are the ways to establish and then expand the IP?
For the next few weeks, we’ll focus on writing for video games in their various formats. In addition to what’s outlined below, it’s possible that we’ll have a guest speaker with experience in various aspects of video game creating, writing, and production, TBD.
March 11: Week 9
Filling a Sandbox:
Many video games are not centered on story or formal narrative, but invite the player into a “sandbox” to build, manipulate, organize, or even destroy a personalized work. We’ll discuss in particular the creations of Will Wright, who designed SimCity, The Sims, and the upcoming Spore.
We’ll explore how the writer/creator of a sandbox game concentrates on tools, character templates. building blocks, and situations, in a way setting a stage for the player to create the story.
Recommended playing:
If you have no experience with sandbox games, sample The Sims, Sim City, or any other non-narrative video games.
March 17-22 Spring Recess
March 25: Week 10
Who Am I This Time?:
How important is a “digital character”? How do we effectively connect a player or participant to an avatar? What’s the benefit of avatar “customization”?
We’ll also discuss the important of “point of view” or POV—is this a “first person” or “third person” experience? What are the pros and cons of each? How does the IP or source material dictate or suggest POV? Should the creator or the player choose POV? How can shifting POV be an advantage in gameplay?
Recommended viewing:
The Lady in the Lake (available on DVD). A 1947 film noir, starring and directed by Robert Montgomery.
Fictional detective Philip Marlowe always narrated author Raymond Chandler’s mystery novels in the first person. In this film, adapted by screenwriter Steve Fisher, Marlowe is the camera. Aside from a brief prologue, or when Marlowe’s face is reflected in a mirror, etc, the entire film is shot in first person POV. Unique and entertaining…but judge for yourself whether the “first person” POV can sustain a full-length film.
April 1: Week 11:
Welcome to My World:
Now that we have characters, where do they live? And, why do I want to go there? What will compel me to spend my time, energy, and/or money to visit your creation?
We’ll discuss the concept of “open” vs. “closed” worlds—which is most suitable for a particular concept? Can we explore this digital world freely, or will we be “pathed” or directed through it? What is the role of “expandability”?
Other topics to cover will be the writer’s taskof creating a consistent universe and mythology, and how visual and audio effects can enhance the created environment.
April 8: Week 12
So, What’s the Story?
We’ll discuss the demands and challenges of writing for story-based games. Is the narrative linear or non-linear? How do “quests” and puzzles fit into the plot? What part do AI-driven, non-player characters (NPCs) have in the narrative?
What are the benefits and pitfalls when the player has “the illusion of choice”? Does the game have “replayability”?
How are plot points presented? How can we eliminate “cut scenes” and replace jarring, non-player moments with seamless delivery of plot and information?
We’ll also cover how to integrate emotion, drama, and unpredictable moments into the action.
Written assignment:
This assignment will evolve into your final project. Choose one of the following:
1. Propose a non-narrative, non-story-based sandbox game. Scale this as a “pitch”, a conceptual overview. Describe tool sets, building blocks, or whatever is required to make the concept come alive for a player. You’re encouraged to add visual aids, diagrams, conceptual art, etc. to help sell your idea.
OR:
2. Propose a story/plot/narrative driven game, which may be linear or non-linear. Scale this as a “pitch”, a conceptual overview. Who is the playercharacter and what is the POV? Describe the world, important NPCs, and so on. You’re encouraged to add visual aids, diagrams, conceptual art, etc. to help sell your idea.
Recommended playing:
If you have no experience with narrative, story-driven games, there is a multitude to sample. A particular favorite of your instructor is Ico (Playstation 2). This is not only a beautifully rendered, atmospheric fable-like game, but its plot is for the most part delivered visually. The spare character dialogue is in some invented language which needs no translation—quite a feat.
April 15: Week 13
Students present their final assignment pitches for peer review, critiques, and suggestions.
Written assignment:
Refine and expand your pitches for final projects. (We’ll discuss more specific expectations in class.) THIS PROJECT IS DUE ON APRIL 29, TO BE PRESENTED IN CLASS.
April 22: Week 14
TBD. However, if we’ve sufficiently covered the topics above, and there’s enough time and/or student interest, the following is a potential topic.
A View From the Trench:
We’ve discussed concepts and theory, with some writing exercises, but in this session we’ll cover some practical matters. In a professional situation, what’s expected from the video game writer? What might the writer cover in terms of level design, plot and dialogue?
We may also include some examples of media presentations used to sell or promote video games within the professional arena, as well as examples of “works in progress” for a company’s internal use.
April 29: Week 15 (Last Class)
Presentation of final projects.
Grading Criteria
Grading will be dependent on assignment preparation as well as serious and constructive class participation. All assignments must be submitted on time. If there’s a change in assignment or due date, students will given ample notice.
Students are expected to behave in a professional manner, meaning all work is delivered on time, neat, printed, and well thought out. And, as this class concentrates on the art and craft of writing, proper spelling, grammar, and punctuation will be weighed in determining your grade.
Baring emergencies, students who cannot make a class should contact the professor by email, before they miss the class. It is the student’s responsibility to communicate with the professor in a timely manner.
Areas that will be considered in determining final grade are:
- Quality and originality of your work - 30%
- Classroom participation - 30%
- Presentation of your ideas and concepts - 20%
- Development of concepts / responding to feedback - 20%
Classroom Decorum
Working as a professional writer involves collaboration, and students are expected to participate in project reviews and discussions. Particularly in the case of final projects, students will be revising their work, often in response to class critiques. It is expected that criticism will be constructive and thoughtful.
Remember: We can become better writers, better artists, via the insights and contributions of our peers.
Students with Disabilities
Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from the DSP. Please be sure this letter is delivered to the Writing Division office as early in the semester as possible. DSP is located in STU301 and is open 8:30am to 5:00pm Monday through Friday. The telephone number for DSP is (213) 740-0776
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