I recently met with Sharon for a tutorial predominantly on the narrative of my game. This was an excellent experience and a huge help to me in developing a more stable narrative, especially when it comes to animating cut scenes or explanatory scenes at least. Sharon and I discussed all areas of the narrative and of the gameplay and I was extremely pleased to see how much she understood of it without my added explanation. We exchanged so many ideas in such a short space of time that I will summarise here what we concluded from it, aided especially by her follow up letter, all of which I am very greatful for. This has probably been the most useful single thing that I have done so far in the development of the game.
Firstly we talked about the 'real world' part of the game, and how so far I have represented the starkness and deprivation of this world in the absence of colour, and the colours used also hint at it being a passed era. Sharon suggested, having seen my most recent experiments with paper, that I may wish to leave the 'real world' as blank, white paper. This would be an even more exaggerated, literal representation of starkness and that the paper texture would evoke two very prominent but almost subliminal meanings; the idea of 'making do' and an almost quaint crudeness that would not be inappropriate when trying to represent wartime Britain, that many people would pick up on and understand without having to be explained to them. The other would be that the paper texture would be a reminder of real, physical materials when contrasted with the digital paint effects of the 'sweet land' and that each would compliment each other. I love both of these ideas and after reviewing my experiments in post production colour of the paper cut outs I am beginning to think leaving them blank is a very nice idea...
Sharon was also hugely interested in the development of the boy, as the projection of the player and as a character himself. She thought I needed the boy to gain something at the end of each level, not necessarily a physical thing but maybe a new technique or piece of knowledge and we struggled for ages thinking of a way to make it more rewarding for the player but without changing the game too much. In her letter I was blown away at the thought that the boy and the old man could be the same character, the boy his younger self - more able to complete the task he wishes he could do, ie finding his wife. This would provide motivation for the boy, as it would technically be his wife also, as opposed to a favour to the old man, and makes the relationships between characters in the game more romanticised and less scope for them to be interpreted as creepy. From this idea the boy can develop, into the old man! This allows your character to move differently and he will grow in size subtly, not changing gameplay too much, but also solving the tricky situation I had at the end of the game to get the old man to the sweet land. Now he will already be there and the boy will also be accounted for.
Sharon reminded me that the lack of sugar in wartime was a huge thing, and that it was something of dreams, I am already exploring this as a major theme in my game but she helped me understand that with stories such as this it needs to be clarified with the viewer and then it becomes more satisfying for them to have understood.
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