1. Spatial Narratives in Games and Media Day Two

2.  A city is a particular kind of space.  Its spatial arrangement is ordered by the interaction of people acting in it.  People take place in events and interactions for a reason – they have a purpose.  As a result, anything one does in a city "takes place" and becomes a "spatial practice" that shapes, and is shaped by, the space of the city.  People "mark" or "inscribe" the space within the city with meaning.  In the course of everyday life, one establishes a "daily path“ through the city.  In the spatial realm, one gradually accumulates the stories and incidents of everyday routines into daily, weekly, or monthly "courses," plots, or "narratives" that give the space further personal meaning.  By connecting the personal narrative to the larger story of the city, an individual can make the story of the city his or her own. What Is a Spatial Narrative? Review of Important Points

3. The Power of Place  While “Place” was seen as important for shaping individuals and communities (national or otherwise), it evolves from being seen as a tool in the transcendental philosophies to a more integrated part of narratives, complicating object/subject and nature/culture dichotomies.  Charles Darwin Publishes the Origin of Species in 1859 and furthers the idea of the power of place (that environment is never background in our narratives. Also, narratives are usually not teleological, but emergent). Transcendentalist Legacy

4. . Advertising -  The history of spatial narratives are deeply involved in orchestrating advertising immersive experiences for buyers. Disney World is famous for utilizing the idea of immersing the reader or watcher in Disney narratives by creating a Disney city that children and adults are able to meet characters, interact with stories through rides, games, and plays inside the city. This immersion is meant to endear, integrate, and entice buyers on personal and community levels with Disney narratives and products.  After seeing the success of spatial narratives in video games Disney land introduced DisneyQuest, a virtual interactive space where spatial narratives games and consumers integrate with Disney ideas and stories. (For example, players can design their own rollercoasters and climb into a machine that mimics the ride and visuals in an interactive spatial narrative. Other Media Uses for Spatial, Rather Than Classic, Narratives (Building Identity and Community)

5. Disability Studies-  The “space” becomes an actor that enables or disables differently abled persons, rather than seeing the person as the only factor. Background is never background in the relationship of disability narratives. These interactive narratives are drawn and reconfigured, helping to create spaces that allow for a wide range of narrative participants. Weather Studies-  Studies on global warming (now officially called Climate Change) are examples of narratives that are focused on events rather than linear narratives. These events are configured into spatial narratives that help scientists predict or explain certain climate change models. Other Uses for Spatial Narratives

6. Science Narratives- Some scientists (especially in quantum mechanics) are inspired by spatial narratives to imagine new experiments that understand “background,” or measurement devices, have agency on the outcomes of experiments. In other words, there is no objective background. Background intra-acts with observations so that each measurement device changes the nature of a particle’s “narrative.” (The Double-Slit Experiment). Such observations are leading to Quantum Computing, which may one day replace the current models of computers as we know them. Other Media Uses for Spatial, Rather Than Classic, Narratives

7. Play through Second Life’s MacBeth Island. Play an MMORPG WoW LoL Fiesta Online DC Universe Dungeon Fighter Online Homework

9. THE PLOT: First Act Macbeth saves Scotland by the invasion of Norwegians. When he came back with Banquo they met three witches. They announced three prophecies. Macbeth informs his wife about it. They start to begin a play to kill Duncan..

10. THE PLOT: Second Act Duncan is murdered. A servant is blamed. Macbeth becomes King of Scotland. Banquo and Macduff suspect about Macbeth.

11. THE PLOT: Third Act Macbeth kills Banquo. Fleance, Banquo’s son, escapes. Banquo’s ghost haunts Macbeth.

12. THE PLOT: Fourth Act Witches warn Macbeth about Macduff. Macbeth kills Macduff’s son and wife. Witches tell two prophecies.

13. THE PLOT: Fifth Act Lady Macbeth goes mad and dies. Malcolm gathers his army and moves to the wood. Macbeth is left alone. Macduff kills Macbeth. Malcolm becomes king of Scotland.

14. Productive Play : A Fourth Dimension in Spatial Narratives Second Life Link Here “Merging Play with Creative Production” ~Celia Pearce Not simply guests, players have a hand in creating the worlds they interact with.

15. Spatial Narratives in World of WarCraft

16. Normal - Allows to focus on adventures and fighting monsters while allowing to fight other players at your discretion PVP - Focus on player combat. Always at risk of being attacked by other players RP - Take on the persona of your character (emersion). This realm has strict naming conventions and behavioral rules. RP PVP- Mixture of emersion and player combat Starter Zones and Contested Territories- Open PVP even in Normal Modes Realm Types

17.  Alliance or Horde- Quests available differ, story arcs, zones available to you differ, non-player characters are different, and other aesthetics (armor, mounts, ships).  Race- Players pick aesthetics and traits. These player choices affect game play. For example, humans have a special perk called “every man for himself,” an independent stun release.  Class- Determine what role you play in groups and play style throughout the narrative (example: warriors can be tanks or DPS. Priests can be DPS or healing.)  Opening scenes (or narrations) are race/faction specific  Starting Location is race specific Factions

18.  QUEST TRIGGERED ZONE EVENTS- Usually at the end of a quest chain, players may choose to participate in activating a zone event that causes a “scripted” event that can affect other players through willing or non-willing participation. For example, releasing of the Abomination in Duskwood may result in narrative events that are unscripted (such as other player deaths or coordinated attacks on the Abomination by players).  PHASING- While players are able to follow a semi-linear quest chain, phasing allows advancement in storyline by altering their personal version of the game, while also being able to join in other semi- linear quest chains with players that are at different narrative positions in the game. In other words, quests have some scripted narrative points, but players may arrive or engage at them in different ways, at different times, or even simultaneously. Non-Linear Narrative Points

19. World Boss- Epic level MPCs that do not require a quest chain or a dungeon to engage while allowing any player or group of players a chance to defeat them and acquire miniature solo or group quests or other items for unique narrative opportunities. Dungeons/Raids- Personalized (unique to you or your group), and can be reached through a quest chain or engaged directly out of narrative linear quests. (Stand alone story arches and objectives). Non-Linear Narrative Points

20.  Emotives- extra immersive interactions with other character players  Chat Channels- allow communication in zones  Guilds- offer unique bonuses for socialization with a group. For example, extra experience, faster travel, and bigger banks.  Leveling up- access to new abilities, gears, zones, and quests  Achievements- Offer various titles, mounts, gear, etc.  Pets and Mounts- can change how you travel and can be used in “mini games”  Reputations- affect for certain MPCs react and whether or not certain objects and zones are available. For example, the Ice Giants of Northrend are initially hostile but can be befriended through reputation quests.  Patches cause changes in current and future landscapes, quests, etc. Other Player/World Agencies

21.  How do Spatial Narratives of online MMO games cross over economically and socially to shape our non-virtual “real” world? Discussion