Unity 3D and PlayMaker Essentials by Jere Miles

Author:Jere Miles [Miles, Jere]
Language: eng
Format: epub
Published: 0101-01-01T00:00:00+00:00

Rising

action

Falling

action

Act II

Crisis, reversal,

and climax

Act III

Conclusion

Carthasis

Act I

Beginning

Initial cause and effect

FiG 6.4 Freytag Triangle demonstrating the pattern of Aristotle’s plot.

Within the confines of the plot, Aristotle considered there to be a need for plot twists or redirections of the expected action. Aristotle presented two types of potential plot twists: change or reversal of fortune and recognition. All plots have a change or reversal of fortune, in the simplest of plots this change of fortune is when the bad guy loses in the end despite their expectation to win. Specifically a reversal of fortune occurs when the events of the plot switch such that the result of the event leads to the reverse of what the character causing the event expected to happen. A simple example would be a character pulling a trigger of an unloaded gun only to have it not shoot any bullets. If the character had been relying on the gun’s ability to fire bullets when the trigger was pulled, then the character has now suffered a reversal of fortune. More complex plots have a change of fortune and recognition, or a change from innocence. This occurs when a character goes from not knowing something to having knowledge. Depending on the knowledge that is learned, the character will either have a very positive or negative emotional response, either great love and happiness or great sorrow and despair. This knowledge discovery should go hand in hand with reversal of fortune.

Bringing this knowledge into the development of a game can be accomplished through revealing information to the player at the same time that the character finds the information. This is a challenging task to accomplish, as we will see in Sections 6.7 and 6.8 when we design and implement some of our own story elements; however, we must remember that the player is not only the audience of our story but also the lead character, the hero. As a result we need the player to experience the story as the hero, to experience the story through the eyes of the hero so that the player’s thoughts may align with those of the hero. We need the player to discover knowledge at the same time, or close to it, as the hero of the story does. The player must experience the themes of the story through the eyes and emotional construction of our hero character.

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