Utilize his framework of analytical theories that stem from the fields of game research, cognitive sciences and dramatic writing to determine an understanding of character driven game design In his dissertation he draws upon Theorist such as: Lajos Egri (1960) whose methods highlight social conflicts His mentors Holopainen and Bjork (not the singer) As well as a multitude more. Proposes: From his analysis he develops an engagement model for game design for determining how the player character and playing experience relate. One of the articles within the dissertation discusses the results of applying this model within a game he himself created titled “Lies and Seduction” briefly: a text/speech/dialog game where the player character navigates the narrative through the adoption of the protagonist’s character
In the third installment (in which I have focused my analysis) he takes on the role of fallen a demi-god. Keeping in line with the overarching theme of betrayal and resultant revenge we accompany him on his rampage through olympus and hell to his final goal of murdering Zeus.
Keeping in line with the overarching theme of betrayal and resultant revenge we accompany him on his rampage through olympus and hell to his final goal of murdering Zeus.
The series also does well to incorporate existing hegemonic ideas within social/popular culture which I hope to discuss at least briefly in my essay. We see here the opening cinematics to the game which provides a breif look into the history of the title. Highly reminiscient popular 300 movie released in 2006 by Tarsem Singh. In terms of the Theory of the Mind Theory which Lankoski touches upon breifly, this is a reflection of those critiques of pre-existing
The God of war series provides an interesting basis for my analysis in that it incorporates ideas of Greek mythology into the design of the character. Obvious enough. But what I’m interested in is the manifestation of each Greek god/goddess within a weapon/tool/skill for Kratos to utilize in his quest. And ultimately how this interaction with NPC bosses allow the narrative to progress.
Like Kratos, Wander originates from Mortal beginnings. However does not at any point ascend into godly stature except maybe at the end…kind of…
Much like God of War, Shadow of Colossus, is dependent upon the structure of the monomyth of storytelling where a reluctant hero leaves for an adventure and returns after facing an ultimate challenge. Each game providing a succession of Gods/Colossi before finally arriving at the end game.
Regarded as a ‘spiritual successor’ to Ico and assumedly The Last Guardian. They exist in similar universes and do well to emphasize eachother’s narratives.
Establish a character study supporting Lankoski’s method of analyzing the importance of player character within character-driven game design Interpretation the functionality of a character is a topic in which Lankoski provides b great insight And it is my belief that the tools and arsenal within the game heavily determine the possible and impossible actions of the protagonist and so therefore I shall devote special attention to the interpretation of these mechanics. I seek to establish critical understanding of characters as more than a mere cursor or vessel. General Knowledge. Knowledge is power.
Comparison of Kratos and Wander
Nature of theProtagonist a Comparison ofKratos and Wander
Method• Utilize Petri Lankoski’s theories and approach towards character-driven game design. Games Research Cognitive Sciences Dramatic Writing