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Berättande

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Berättande

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Berättande

Lawrence Jung

M.F.A. University of Southern California

Advisors: Larry D. Gertz, Andreas Krathky, Samuel Roberts

University of Southern California | School of Cinematic Arts | Interactive Media and Games
Division

August 2015
Jung - 2
Table of Contents
Prologue 3
Genesis 4
Arise 6
Wintertide 9
Aha 12
Denouement 15
Coda 17
Screenshots and Reference Images 20
Bibliography 24

Jung - 3
Prologue
The cold, salty ocean waters cradle the boat back and forth as Liliana rows towards
the Dalca Islands. Gray clouds form above the island and head towards her location. Liliana
opens her journal, writing down her thoughts and thinking about the troubles at home. She’s
stolen her father’s boat to find a quiet place to think. The Dalca Islands were a place her
grandfather took her family during the summer breaks. It was a place away from home, away
from school and a place to find adventure. She has fond memories visiting the island but now
it has become a place of solitude.
The rocking of the boat intensifies. Liliana returns her journal to her sea green
backpack and grabs the wooden oars to steady the boat. The clouds are even more menacing
than before--ready to burst at any moment. Details of the abandoned lighthouse come into
view. Drops of rain land on her forehead, running down her cheek and off her chin before the
downpour. The waves intensify and the heavy rain becomes a heavy curtain obscuring her
view. Before she knows it, her boat capsizes. Liliana hangs on, trying to keep her head above
the seawater.
She lets the sea take her to island, and she and as the splintered boat wash up on the
main Dulca Island shore. The lighthouse on top of the hill towers over her, looking even
more menacing in the storm. Her grandfather always prevented her from entering the
lighthouse, but now it’s the only shelter she has from this weather. With her arm up high to
cover her from the heavy rain, she treks up the wavy hill towards the lighthouse.
When she tries to open the door the rusty handle brakes off. Liliana reattaches the
handled and opens the iron door. It is musty inside the abandoned lighthouse, as no one has
used it since the war. Liliana has always been curious about this place and now can satisfy
her curiosity.
Jung - 4
Genesis
I have always been curious about how narrative intertwines with interactive media.
My final project in CTIN 542: Interactive World Design and Experience., Poco Conocido,
explores a narrative design using two different characters perspectives. Together the
characters give the player two outlooks when exploring the island and discovering the
characters’ origin.
My first thesis concept used a Virtual Reality (VR) headset and incorporated
theatrical design concepts in a virtual environment. I have always been fascinated how
theater and Broadway shows are able to transport guests into different scenes even though the
performance is fixed on stage. The transition between spaces and scenes in theater does not
take the guest out of the experience, but can enhance it. When a user is wearing a VR
headset, they are tied to the same constraint as the theatrical performance: the physical space
they can walk around in.
I am fascinated with physical space and how it is used. I had an idea about a digital
world living on top of our real world and using our mobile devices to be a window into this
world. To make it more connected, I wanted to embed the physical environment with devices
that would serve as hubs where users can leave and take information. This idea takes its
inspiration from the Nintendo 3DS feature, Street Pass, that transfers various game data
between users 3DSes. I wanted users to feel connected within this virtual mesh, as we all
carry mobile devices today. However, technical implementation was a big hurdle with these
two ideas. I had not previously worked with VR or networking technology, so there would be
a large amount of time spent learning and understanding these technologies.
I shifted gears to focus more on my interest in storytelling, and ended up with the
idea for Komikuri, which means “comic” in Georgian. Komikuri combines graphic novels
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and point and click adventure games. Through this mystery adventure, the decisions the
player makes in the game are then recorded as comic book panels. As they continue to play,
pages of these panels are generated and to make a physical graphic novel at the end of the
experience. One of my frustrations when I play games is remembering what happened in
previous play sessions.. Having an in progress graphic novel to quickly recap where I am
would have helped me understand where I was in the game’s narrative. One of the benefits of
books is the reader’s ability to move forward and backwards in the story. I loved the idea of
incorporating this concept into a more dynamic medium.
To prototype this idea I used a tool called Inklewriter, used to created 80 Days on the
iPad, to see how the players react to seeing their decisions on the screen. Inklewriter helps
with creating branching storylines in an organized fashion. With each decision the player
makes, the decision and outcome is appended to the body of the narrative. One feedback
from a playtest was that users wanted the ability to undo a decision and pick a different
choice to see what the other outcome would be. They would want the ability to “flip ahead”
to see where their current decision would lead, similar to how people flip ahead in a book.
The suggestions were great ideas, but were difficult design challenges.
Over the summer I continued to build out the Komikuri idea. However, the more I
build it out the more I saw the scope expanding. With just nine months to create this thesis
every second is critical. One of the major achilles heel of Komikuri was the art asset creation.
Not only would I need a texture 3D model that animated, but also I would need many of
them. This mystery story contains many different non-playable characters (NPC) and locals
the player visits. This was even more daunting as I did not have a team ready to go. In
August I refocused on what I wanted my thesis to be, looking at the different elements from
all of my ideas. I would categorize my primary goal in crafting an engaging environment for
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the player to experience and second in focusing on narrative through a combination or
recording and decisions making. These ideas lead to the creation of Berattande.
Arise
Berattande is an interactive experience about exploring the player’s perspective of
the virtual world they are experiencing. The player follows the story of Liliana and her
adventures in an abandoned lighthouse. With the use of her journal, the player can record
their findings, which in turn shape the world they experience. The player can continue to use
the journal to reflect upon their experience. USC Professor Maureen McHugh helped give me
direction on the story I wanted to tell: an emotional story about a high school girl uncovering
her family’s past secrets. Keeping it about one character exploring an abandoned lighthouse
helped me to scope the project appropriately. The will be no NPCs or an overwhelming
number of locals for the player to visit. It is just Liliana and an abandoned lighthouse.
Some prior art games that I have used as inspiration included Gone Home, Dear
Esther and Kentucky Route Zero. Gone Home follows the story of Kaitlin Greenbriar when
she returns to find her family home empty. Most of the narrative of Gone Home is told
through the various objects and letters players examines in the home. Dear Esther is an
experimental first-person exploration experience where the player traverses an unpopulated
Hebridean Island listening to various letter fragments written to Esther. The Chinese Room
developers crafted an evocative place that ties in with these letter fragments. Kentucky Route
Zero is different from these two first-person adventure game as it is a dynamic 2D side/top
down point and click adventure game. It has a distinctive visual style and has many
interesting places and people to meet. I would like to incorporate each of these characteristics
in Berattande.
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In September I began coding Berattande in the Unity3D game engine. I recruited
Patrick Quah and Kylie Moses to assist me in crafting the narrative and Christina Orcutt to
design and model the environment and objects. With my writers we have broken up the entire
story of Berattande into three acts. This helped me with managing the scope of the project. If
we cannot complete Act 2 or Act 3by the end of thesis year, I can still have a solid player
experience with Act 1.
I began to simultaneously to layout the narrative for Acts 1, 2 and 3, work with the
artist on the visual look of the game and began to research an effective architecture for the
game program. Our first deliverable was for the Thesis Fall Open on October 31th. The two
major objectives I wanted to achieve by this date were to have an interesting environment for
the player to explore and have a functioning journal for the player to record their thoughts.
One of the first design decisions I had to make was how the player was going to view this
world. We decided to use a third person camera that allows the player to control where the
camera faces with movement controlled using the WASD keys on the keyboard.
Since the player had control of the camera, it was critical to design the environment
carefully to have scenes that would catch the player’s eyes to have them head to those
location and give them direction. The first area we blocked out was the “Beach” area, the
location where Liliana got washed up on shore. The player’s goal for the beach area is to
reach the lighthouse at the top of the hill. To help let the player know the lighthouse is their
goal, the silhouette is clear against the sky and is the only visually catching object when the
player moves the camera. Once this goal is in the player’s mind, they will begin to find a way
to the lighthouse.
In designing this area, I purposely placed only one path to the lighthouse to prevent
the player from getting lost, however I also created points of interest along the way. Since
Liliana has been on this island before during family vacations, there are locations that her
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family been at. Two points of interest to flesh out this backstory are a picnic area and a
lookout point. The picnic area contains a flattened beachball that she played with her father.
It is a colorful ball that catches the player’s eye, making it an object of interest. The lookout
telescope is further down the path and is on a elevated platform. This can be seen at the end
of the path after the player finishes exploring the picnic area.
For the Fall Open build, the player could write in a journal, only two pages of
observations and walk to all the points of interests. I utilized a paper questionnaire containing
ten questions to see how players felt about this concept of recording their thoughts inside a
journal in the game. A common comment was the note taking feature was really cool but the
playtesters did not see a reason to use it. The playtesters also wanted to pick up objects they
saw (ie. beachball) and save it for later and when they reached the lookout point they wanted
to use the telescope. They also really enjoyed the environment and a “cute” capsule as a
character. Most playtesters traversed this area with ease and were able to get to all the points
of interests. However there were many technical issues like the camera not behaving
properly, the notebook cutting into trees and players walking off the cliff.
This feedback proved to be very useful and validated that there was something that I
had here. Players enjoy the novelty of having a journal in which they can type whatever they
like throughout the experience, however I needed to reinforce the gameplay loop to make
using the journal essential. One of the major reasons players did not want to use the journal
was it was inconvenient to use. Every time they open the journal the camera would behave
unpredictably and it would be hard to read what they had written. To fix this, I planned on
having a dedicated camera position and have it closer to the book so it would be easier to
read. I also looked into how to incorporate the ability to picking up objects as this game is not
about inventory management but how these objects added to the narrative. As a final request,
I looked into making the telescope usable by the player. Originally it was supposed to be
Jung - 9
broken in the story, but players really wanted to use it and I could see it adding character to
the world. I hoped to have all these worked out by MFA Thesis WinterActive Show in
December.
Wintertide
Leading up to the WinterActive Show, I met with my advisors and discussed the feedback
received from Fall Open and turning them into actionable items. The major goal to achieve
first was to tighten up the core gameloop: making the journaling and recording a meaningful
part of the experience. My advisor suggested looking at Darwin’s Notebook during his time
at Galápagos Islands. It contains images and text all related to his observations that he later
used to form his theory of evolution. In keeping with this analogy, the player’s journal will
also be their “inventory” screen. If a player sees an object of interest they can pick it up and a
sketch of that object would be inserted into the journal along with some flavor text. The
flavor text is used to flesh out the history of the world and to learn more about the character
the player is controlling.
In addition for the player to be able to place objects in the journal, the player now
also had the ability to write on multiple pages, a big upgrade from the Fall Open Build. This
made the journal more flexible and realistic. The journal itself also had a new model with
animated page turns grounding the journal more in the world.
Moving beyond the journal, I continued to refine the third person camera system. The
player still controlled the camera with the mouse and had the ability to zoom in with the
scroll wheel but I have constrained the movement a little bit to not make it feel so wild. Also
there is a dedicated camera position for the journal that it moves towards so the player can
get a closer look. Even in this mode, the player could still control the camera as I still wanted
them to be able to see the object or scene they would like to take note of.
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Finally the WinterActive Build visual style was upgraded to be more inline with my
concept art of a low-poly, slightly desaturated look. The more official lighthouse model was
in place and the terrain textured to be more like an island. I also added weather and fog
effects to heighten the environmental design to match the evocative music by our composer
Erick Del Aguila. The WinterActive Build also included an additional area, the first floor of
the lighthouse and a short intro camera fly through to help the player familiarize the world
before they participate. With all of these features in place the WinterActive Build was ready
to go.
The Fall Open was an informal showcase located in the MFA thesis space while
WinterActive is more formal set in one of the schools large soundstages. This meant having a
game poster and a decorated setup for my demo space. I quickly shopped around Goodwill,
finding a old looking small jewelry check and some oak-looking placemats. I even brought
my Sherlock Homles book to decorate the table. Not only did I want to exercise my creative
design in crafting a virtual space but also the physical space where the game was being
demoed. These elements the guest mentioned that they enjoyed while experiencing
Berattande.
The feedback I received from the participants proved to be invaluable. Many of them
really enjoyed the construction of the environment and how the music and other atmospheric
elements worked together. The playtesters saw that they survived a shipwreck and heading
towards the lighthouse. They also enjoyed the little details of the journal like how it opened,
how the pages turned and seeing a handwritten font used for typing in the journal.
Something’s the playtesters did not enjoy was the camera. Some found it moved too slow and
when they went into journal mode, the camera moved in a little too close. There was one
player who did not realized they had to use the mouse to control the camera and change the
player character’s heading. This made traversal through the space quite difficult.
Jung - 11
I was surprised at how engrossed the players were experiencing the game. The
average play session was ten minutes and a half for just the “Beach” area and the first floor of
the lighthouse. The majority of the time was spent looking for objects, reading the flavor text
of the objects they picked up and using the telescope thinking about the island they saw in the
distance. My goal of crafting an evocative environment seemed to have been achieved.
However, the core loop of using the journal was still in question. Players were using the
journal more since they could read more about the objects that they picked up but they were
not writing more. The playtesters like the feeling of writing but what was missing is their
purpose to write. They needed direction.
Discussing the feedback received from WinterActive with my Thesis advisors, one of
reasons the writing in the journal was not as fulfilling is the player’s intrinsic reward was not
rewarding enough. There needed to be a stronger reward feedback from the game world to
help the player understand they are headed down the right path. What were some ways to
accomplish this? I had to make the journal feel somewhat connected with the world. One way
to achieve this goal is to have journal analyzing what the player has written and if a certain
keyword is there it would be bolded. This clear visual feedback would encourage to write
more and would be curious to see what would happen if they decided to type more. To help
the player to “discover” these keywords would be the flavor text of the objects that the
players find.
Some of the flavor text would highlight certain words like pronouns or adjectives that
the player can use to construct their own thoughts about the subject. Doing this would require
a rethinking about the flavor text in the “Beach” area. Currently the flavor text revolves
around foreshadowing what the player will be finding inside the lighthouse which did not
help ground the narrative for the player since they are just introduced to this world mixed in
with a little bit of past experience of Liliana. Instead of having this area more foreshadowing
Jung - 12
what the player will see it will be more about Liliana’s past experience on this island. This
would make the text more connected with the area they are experiencing and learn more
about the character they are playing as.
In addition to bolding keywords, I was thinking about how these words would affect
the world. With only five more months before the Thesis Show (and only four before Thesis
Defense), I would not have a lot of time to program in complex behaviors based on text.
They will need to be simple and effective in showing the player what they are writing is
important. I hope to flesh this out further over winter break.
Aha
As it would turn out, I did not spend any time on my thesis over winter break and
work gave way to relaxation. This would prove, however, to be a blessing in disguise. Over
winter break my family visited Lisbon, Portugal. From there we took a scenic train ride to
Sintra, a place where many Portuguese royals and government officials lived. One place we
visited that gave me some inspiration was Quinta da Regaleira, a UNESCO World Heritage
Site. It is a large estate containing a small palace, chapel and parks. Underneath this large
compound are a series of underground tunnels. The tunnels’ entrances are cleverly hidden
behind waterfalls or ornate fountains. It was quite an experience getting to the tunnel
entrance behind the waterfall as I had to use small stepping stones to traverse the narrow
stream. The dark tunnel was lit only by a string of lights trailing across the ground- many
people had to use their cellphone flashlights to light the way.
Then the most surreal experience and feeling came when we reached the end of the
tunnel. It led to a bottom of a well. I was surrounded by stones with the sun framed by the top
of the stone well. There was a spiral staircase built into the stone structure going up. It felt as
if i had been teleported to a different world. This sensation of discovery of a “secret” location
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and being rewarded for taking a “risk” and venturing down an unknown path is something I
would like to incorporate into my thesis. The environment is not just place but a character
with its own secrets. Returning from winter break I sat down and thought about the state of
my project. People really loved the atmosphere and the environment they were exploring but
there were no real secrets to uncover.
The bowels of the lighthouse would be the first area to truly incorporate this feeling
of mystery. . While the “beach” is mostly a tutorial area where the player learns the core loop
of collecting and documenting, the lower section of the lighthouse is far more
exploratory, rewarding the player for delving deeper as the embedded story slowly unravels
itself, similar to the light at the end of the tunnel in Portugal.
Returning to USC, the thesis students presented mid-point progress reports to the
professors detailing their accomplishments and outlining their next steps on the path to the
thesis show. In my presentation I covered everything from my first thesis ideas to my family
trip to Portugal. I included my plans in making the environment more like a living character
and creating a more rewarding feedback loop for the player. One of the challenges I
mentioned was my current use of the third person camera controlled by the player. I had
refined it to the point where it was usable (for example, adding features where it made
objects transparent if they were between the player and the camera and the camera not cutting
through the terrain) however there were still the issues of it cutting through the player and
problems with transitioning to the journal camera mode.
The professors in attendance suggested in taking some time to try out a different
camera system by making it “fixed” in the vein of Resident Evil. One of the main reasons I
made it a player controlled third person camera was to add to the sense of exploration as it
felt similar to turning one’s head to look around, however there were clear benefits in moving
to a fixed camera system. It would allow me to author where the camera would be at any
Jung - 14
given time, and would remove the mouse as part of the control scheme. The entire game
would be controlled with the keyboard (arrow keys more movement and keys for typing
notes in the journal). The player does not need to think where their hands are placed during
the experience as the original control scheme would have the player take their hands off the
mouse to type and then return to the mouse.
Before moving too far with this system, I spent the next week prototyping it in the
game. The initial testing proved to be positive, with the player’s attention directed towards
whatever the camera was looking at. Some tweaks need to be made including how the camera
transitions from location to location. An overhead camera (rotation in the y axis) made some
players a little dizzy. Also since the camera was always focusing on the player character there
were certain sequences the player could not see the sky, this is where a fixed camera property
would come into play. Obviously, it was important that when the camera was following the
player it would not make them sick.
With this initial feedback I worked on added new features to this system. Instead of
having one camera associated to each camera zone, there is now two, one for the player
heading north and one for heading south. This helps prevent the camera from flying over the
player character when transitioning into a new camera zone. Next the camera has a fixed
camera properly so I can detach the camera from the character and be able to frame a shot of
the environment. This also included the ability for the camera to have different field of view
so I can include more environmental elements into the scene. This can be seen right before
the player approaches the lighthouse where the fixed camera frames the lighthouse towering
over the player before they enter. This scene was to evoke a certain emotion within the player
and hopefully foreshadowing what is to come.
The fixed camera mode allows me to utilize the knowledge gained from a visual
expression course I took last year by Bruce Block, a visual storyteller expert. These concepts
Jung - 15
included contrast and affinity, space, line and shape, tone, color, movement and rhythm.
Some for of these elements exist in the scene and can evoke certain emotion or mood in the
viewer. For example, a scene containing diagonal lines and various shapes create visual
intensity versus a scene with uniform shapes. These concepts not only apply to a single frame
but also with camera movement. This is important when the player is transitioning between
camera zones.
Feedback from my advisor was positive on this development and so moving forward,
I shifted the camera system from a player controlled third person camera to a fixed,
traversing camera where the camera location is determined where the player is in the space.
One of my advisors thought this system made him feel more immersed in the environment
due to the objective view where he can gather more sensual information about the
environment. Since the camera is further away from the player character, the experience is
less claustrophobic. Due to this shift, the level design would need to be redone so allow the
fixed camera flow smoothly within the space.
Denouement
With this new camera system, all the interaction with the experience is with the
keyboard. This change also had to be applied to the look out telescope as that was controlled
with the mouse and it is now controlled with the keyboard. From the feedback and
discussions with my advisor the journal will be upgraded to give more feedback to the player.
The active page of the journal will have an outline and if it is a page that the player can edit,
it will contain lines. Having this visual feedback makes it easier for the player to navigate the
journal and the visual component of lines seems to encourage writing (as it looks like a line
piece of paper).
Jung - 16
Another major upgrade planned for the journal is a word analysis system. This feature
will analyze what the player has written the journal and the word they typed is a particular
keyword, it becomes bolded. Not only the word visually stands out on the page but it will
have an effect on the world. For example, if the player uses darker tone vocabulary to
describe the world, the camera filter will reflect that. If the player builds upon the narrative
from an objects flavor text, another object may appear in the world. This feature
acknowledges that every player will have a different perspective and interpretation of this
experience. The key here is to design compelling reactions from the world that will make it
delightful for the player.
Development of the experience has been going smoothly to a point where art asset
creation is becoming a bottleneck. With just one artist on the team, there are many objects to
model and texture. One feedback received about the current visual style that it looks too
similar to many indie low-poly style games and would like to see more of the texture work
from the concept art. This meant time would be needed to create custom texture for the
objects to give it that “storybook” look. With this extra development, I have decided to only
focus on Act 1 for Thesis Show verse having both Act 1 and 2 ready for the Show.
To tie everything together for Thesis Show, the experience will start off with a short
cutscene showing the player the journal, Liliana writing in the journal, Liliana herself and the
island they will be exploring to help set things in perspective. Following this cutscene is the
player exploring the “beach” area to get the hang of using the journal and exploring. This
area revolves around Liliana’s experience on the island from past family vacation recalling
her time with her grandfather. When the player finds shelter from the weather in the
lighthouse the narrative begins to shift to the grandfather himself. The player begins to see
references of what the lighthouse was used for in the past and her grandfather’s involvement.
Jung - 17
The underground area is larger than the “beach” area and contains many rooms for
the player to explore. I utilized what I have felt from my family trip to Portugal in crafting
this area. It is an area where I would like the player to type out many of their observations to
uncover new information about the world they are exploring. It would also contain small side
narrative to give the world a little bit more richness. At the end of this area, there is a small
trolley that will take the player to the next area that is the start of Act 2.
A lot of time will be spent on testing the narrative flow and ensuring the player is
getting all the major story beats. Testing includes the clarity of the flavor text of the object,
the effectiveness of keywords, the reward the player receives from writing keywords and
making sure the camera is focusing on the relevant information. Feedback from this testing
and advice from Thesis Defense will help inform me of any design changes or tweaks I
would need to make to improve this experience for Thesis Show.
Coda
With just one month till Thesis Show, I have learned a lot as game designer, narrative
designer, level designer and producer in creating Berattande. Early on I build out the basic
building blocks of the game design. The first blocks were navigation and recording. This
foundation lead to the development of the rest of the experience leading to choosing a better
camera system to enhance the narrative of the world and better feedback system when the
player records their thoughts and discoveries in the journal. Also building out from the
navigation system is developing skills in level design. Doing research in not only how games
design spaces, I have also looked into how theme parks lay the spaces out. Theme parks are
designed to have stories embedded in the environment and rewards guests when they notice
it. It also reveals how guests interact in the environment they are in the physical space.
Jung - 18
Learning level layout also built upon learning designing the narrative of Berattande
as they work hand in hand in this experience. It was important to make sure the flow of the
player’s path corresponded with the narrative information received from their exploration.
The narrative was important to me as I wanted to tell an emotional story about Liliana’s
grandparents and her relationship to her father. However I am also interested in the player’s
perspective and thoughts on this particular narrative so designing the journal was just as
important. What they perceived will vary from player to player and it affects on the world. It
does not change the overall narrative but it may only give the player a particular perspective
depending on what is written in the journal. This is still something I want to continue to
explore after Thesis Show.
On the production side, I learned it is important to create an effective work flow and
holding team members accountable. With a small team of six members, it was easy to
communicate between members but when one member did not accomplish work it affected
the schedule. It was important to list out the particular tasks that need to be accomplished by
a certain time frame. I used a variety tools like Google Docs, Asana and Slack. This also tied
into the concept of scoping appropriately making sure certain features can be completed in
time and are attacking the core experience that I want to achieve. As the main director of the
project I was in charge of implementing everything, conducting tests and schedule time to
meet with advisors. This is in addition to identify important roadblocks to help my team to
move forward.
Creating Berattande had developed my abilities as an interactive designer and
learning new ways of telling stories through an interesting form of interaction, journaling.
Many games crafts interesting and dynamic environments that we would like to lose
ourselves in yet the game does not receive our feeling. Through the journal, the player gets to
interface with the world and transform it with their words. Like an onion, layers and layers of
Jung - 19
story is revealed mixed in with the player’s own thoughts and feelings. The play between the
author and the player has been fun to explore in Berattande and interested to see if future
experience would expand on the idea of player’s recording with in the world they are
experiencing. I hope that Berattande helps bring players closer into the experience to show
that the game appreciate their time in the world and to relish in the discoveries made during
their journey in learning not only more about the world but also themselves.

Jung - 20
Screenshots and Reference Images
Winteractive

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Thesis Show

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Bibliography
Dear Esther. The Chinese Room. 2013. Video game
Gone Home. Fullbright. 2013. Video game.
Kentucky Route Zero. Cardboard Computer. 2014. Video game.

Abstract (if available)

Abstract Berättande is an exportation in designing spaces in a virtual environment to tell an emotional story with the user's input.

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Designing the Ramayana re-imaginator

Asset Metadata

Creator Jung, Lawrence (author)

Core Title Berättande

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Publication Date 07/06/2015

Defense Date 03/13/2015

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag choice,Decisions,emotion,environmental design,Games,interactive,Interactive Media,narrative,narrative design,OAI-PMH Harvest,Storytelling,video games,world building

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Gertz, Larry D. (committee chair), Kratky, Andreas (committee chair), Roberts, Samuel (committee chair)

Creator Email lawrence.cy.jung@gmail.com,lawrencj@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-584392

Unique identifier UC11300377

Identifier etd-JungLawren-3542.pdf (filename),usctheses-c3-584392 (legacy record id)

Legacy Identifier etd-JungLawren-3542.pdf

Dmrecord 584392

Document Type Thesis

Format application/pdf (imt)

Rights Jung, Lawrence

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA