Posted on by Sarra

2 Papers 1:01

I have identified the following two relevant papers as a starting point for a new project. 


S, Bosco, S, Miller , L, Van Osch (2019) The Great C’ : Lessons From Creating a 37 Minute Cinematic Narrative 

[Accessed 26.09.19]

Key Points

  • When writing for Cinematic VR use existing film language processes such as traditional script writing and storyboarding first to make sure it works but add in things like sound and cut scenes to the narrative test flow and connection between scenes. Use references from cut scenes in the script and storyboards. 
  • Low / High fidelity approach to concept design. 
  • Use lighting as a narrative tool and do this early in production by using a white box scene. 
  • Use colour graduation through scenes to indicate the journey through the narrative. 
  • Use particles as ambient effects such as fog help to construct a grounded volumetric space. 
  • Use Script, Storyboard and Animatics to tell a linear narrative. 
  • Bending VR immersion rules such as rotating the view for the viewer worked because it was down very slowly and there was a centre point (downlight) to focus on. 



This raises the following questions… 

  • Will I write a full linear narrative? ( Norsteins dream memory recall is non linear could be an alternative). 
  • Is this a passive cinematic experience an interactive one? Is there an obstacle to resolve? Is there a reward/end goal ? What will motivate the participant to move through the scenes?
  • Will I need a voice artist ? Will I need music rights?
  • Will using Low Poly/High Physics Effects reduce the processing the load on mobile devices? 
  • How will sound be deployed? Will it to unify the experience or direct the story line ?  
  • How will I use Light ? Will I use it to create volumetric space and direct the  participant? 
  • How will I use particle physics? (The work of Lotte Reinigers layered papers technique may be worth experimenting with).
  • How will I use natural elements such as fire, ice, wind effects etc?  






KRZYWINSKA, TANYA. 2017. ‘Gothic American Gaming’. Cambridge University Press.

In this article, Professor Krzywinka begins by defining the unique quality of video games as requiring a players interaction. She focuses on Monstrosity, Otherness and Dislocation In Gothic American games so as to analyse relations between Story, character and game mechanics. 

She begins by using examples from American Gothic Video games to find relations between monstrosity and the monstrous, the objectification of monstrosity in the Other and monstrous locations in which the player feels dislocated. 

The author discusses how the monster can be used to support game play. She proposes that as the player becomes stronger they can fighter stronger monsters which acts as advancement feedback. She writes that although this does not often alter the storyline, games such as fable and the mass effect series can influence the trajectory of the game. Limiting the players affect preserves authorial control of the storyline and reduces production costs.

Professor Krzywinka also writes that games take up real world mythological systems and translate them to a ludic agenda as they apply a universal realisation of monstrosity. 
In this part of the text she progresses from swarms of monsters, to the individualised ‘Boss’ monster and writes the the player can also be monstracised. 

The concept of monstrosity relates to the other as threatening and terrifying, adding that certain people and groups can be ‘othered’, made strange and different as a means to ostracise and marginalise them. 

Finally, the author discusses the functionality of the gameplay space and how it may impede a players progress, acting as antagonist. This is referred to by gamers as ‘player versus environment’. 

This raises the following questions: 

  • Will my focus be on horror gothic? Could it be on beauty and the sublime? 
  • What will act as monster/angelic in the narrative? Will I scale this through the narrative? 
  • If I have no game play as such, will I use ‘monster’ cards as cannon fodder?
  • Is my paper World ‘other’ making the player ‘othered’ ? 
  • Will my world ‘dislocate’ the participant? If so, how? 
Posted on by SarraShepherdAdmin

2 Papers 1:01

I have identified the following two relevant papers as a starting point for a new project. 


S, Bosco, S, Miller , L, Van Osch (2019) The Great C’ : Lessons From Creating a 37 Minute Cinematic Narrative 

[Accessed 26.09.19]

Key Points

  • When writing for Cinematic VR use existing film language processes such as traditional script writing and storyboarding first to make sure it works but add in things like sound and cut scenes to the narrative test flow and connection between scenes. Use references from cut scenes in the script and storyboards. 
  • Low / High fidelity approach to concept design. 
  • Use lighting as a narrative tool and do this early in production by using a white box scene. 
  • Use colour graduation through scenes to indicate the journey through the narrative. 
  • Use particles as ambient effects such as fog help to construct a grounded volumetric space. 
  • Use Script, Storyboard and Animatics to tell a linear narrative. 
  • Bending VR immersion rules such as rotating the view for the viewer worked because it was down very slowly and there was a centre point (downlight) to focus on. 



This raises the following questions… 

  • Will I write a full linear narrative? ( Norsteins dream memory recall is non linear could be an alternative). 
  • Is this a passive cinematic experience an interactive one? Is there an obstacle to resolve? Is there a reward/end goal ? What will motivate the participant to move through the scenes?
  • Will I need a voice artist ? Will I need music rights?
  • Will using Low Poly/High Physics Effects reduce the processing the load on mobile devices? 
  • How will sound be deployed? Will it to unify the experience or direct the story line ?  
  • How will I use Light ? Will I use it to create volumetric space and direct the  participant? 
  • How will I use particle physics? (The work of Lotte Reinigers layered papers technique may be worth experimenting with).
  • How will I use natural elements such as fire, ice, wind effects etc?  






KRZYWINSKA, TANYA. 2017. ‘Gothic American Gaming’. Cambridge University Press.

In this article, Professor Krzywinka begins by defining the unique quality of video games as requiring a players interaction. She focuses on Monstrosity, Otherness and Dislocation In Gothic American games so as to analyse relations between Story, character and game mechanics. 

She begins by using examples from American Gothic Video games to find relations between monstrosity and the monstrous, the objectification of monstrosity in the Other and monstrous locations in which the player feels dislocated. 

The author discusses how the monster can be used to support game play. She proposes that as the player becomes stronger they can fighter stronger monsters which acts as advancement feedback. She writes that although this does not often alter the storyline, games such as fable and the mass effect series can influence the trajectory of the game. Limiting the players affect preserves authorial control of the storyline and reduces production costs.

Professor Krzywinka also writes that games take up real world mythological systems and translate them to a ludic agenda as they apply a universal realisation of monstrosity. 
In this part of the text she progresses from swarms of monsters, to the individualised ‘Boss’ monster and writes the the player can also be monstracised. 

The concept of monstrosity relates to the other as threatening and terrifying, adding that certain people and groups can be ‘othered’, made strange and different as a means to ostracise and marginalise them. 

Finally, the author discusses the functionality of the gameplay space and how it may impede a players progress, acting as antagonist. This is referred to by gamers as ‘player versus environment’. 

This raises the following questions: 

  • Will my focus be on horror gothic? Could it be on beauty and the sublime? 
  • What will act as monster/angelic in the narrative? Will I scale this through the narrative? 
  • If I have no game play as such, will I use ‘monster’ cards as cannon fodder?
  • Is my paper World ‘other’ making the player ‘othered’ ? 
  • Will my world ‘dislocate’ the participant? If so, how?