VIEWER PERSPECTIVE IN INTERACTIVE STORYTELLING, AND NARRATIVE AIDED BY VISUAL DESIGN

Yıl 2023, , 969 - 983, 08.01.2024

Kaan Kaya

https://doi.org/10.21602/sduarte.1375729

Öz

Since the dawn of human consciousness, technology has brought a fresh perspective to the stories that have always been part of life. Interactive stories, found in video games and interactive fiction, offer viewers an active role in the story they experience, unlike traditional narratives where they are passive observers. These stories, co-shaped by designers and viewers, hold limitless experience potential. However, guiding the viewer's perspective in interactive media is crucial for a coherent narrative progression, and the control methods used in other visual narrative genres often fall short in interactive storytelling. Imposing a fixed, pre-determined perspective on viewers may disrupt the fundamental immersive concept of interactive experiences. Therefore, unique narrative structure of interactive storytelling requires creative solutions to direct the viewer's perspective. This study examines solutions developed to guide the viewer's perspective without disrupting the sense of immersion and explores the impact of visual design on narrative structure through examples.

Anahtar Kelimeler

Interactive Storytelling, Video Games, Perspective, Visual Design, Narrative

Etkileşimli Öykülemede İzleyici Perspektifi ve Görsel Tasarım ile Desteklenen Anlatı

Öz

İnsan bilincinin doğuşundan bu yana hayatın bir parçası olan öykülere gelişen teknoloji ile yeni bir bakış açısı kazandırılmıştır. Video oyunları ve etkileşimli kurgu yapıtları ile izleyiciye sunulan etkileşimli öyküler, izleyicinin deneyimlediği öyküde pasif bir gözlemci olduğu geleneksel anlatıların aksine, aktif bir rol vererek onu öykü dokusunun temel bir parçası haline getirmektedir. Tasarımcının ve izleyicinin birlikte şekillendirdiği bu anlatılar sonsuz deneyim potansiyeline sahiptir. Ancak etkileşimli bir medyada kurgulanan anlatının kararlı ilerleyebilmesi için izleyici perspektifinin yönlendirilebilmesi kritik önem taşımaktadır ve diğer görsel anlatı türlerinde yer alan kontrol metotları etkileşimli öyküleme yapısı için çoğu zaman yetersizdir. İzleyiciye dayatılabilecek sabit ve önceden kurgulanmış bir perspektif, etkileşimli öykülemenin sunduğu en temel özellik olan kapsayıcılık kavramını olumsuz etkileyebilmektedir. Bu nedenle etkileşimli öykülemenin farklı görsel anlatı yapısı izleyici perspektifinin yönlendirilebilmesi için yaratıcı çözümler gerektirmektedir. Etkileşimli öykülemede kapsayıcılık algısını bozmadan izleyici perspektifini yönlendirmek amacıyla geliştirilmiş çözümlerin incelendiği bu çalışmada, görsel tasarımın anlatı yapısı üzerindeki etkileri örnekler ile irdelenmiştir.

Anahtar Kelimeler

Etkileşimli Öyküleme, Video Oyunları, Perspektif, Görsel Tasarım, Anlatı

Kaynakça

• Donovan, T. (2010). Replay: The History of Video Games. First Edition, UK: Yellow Ant.
• Norrman, A. (2020). User Interface’s Impact on Player’s Immersion. Master of Science Thesis, Sweden: Umeå University, Master of Science: Interaction Technology & Design, Department of Applied Physics and Electronics.
• Perron, B. (2004). “Sign of a Threat: The Effects of Warning Systems in Survival Horror Games”, 4th International Conference on Computational Semiotics. 14-16 September 2004, Croatia: University of Split. Stahlke, S. ve Babaei, P. (2022) The Game Designer's Playbook: An Introduction to Game Interaction Design. First Edition, UK: Oxford University Press.
• Adams, R. (2019). “The Death Stranding Ending Sequence Is Longer Than Most Movies”, https://www.gamerevolution.com/news/612255-death-stranding-ending-sequence-cutscene-movie-length, Erişim tarihi: 17.09.2023.
• Bare, J. (2020). “Video Game Sector Continues to Dominate Entertainment Industry”, https://johnpatrickbare.medium.com/video-game-sector-continues-to-dominate-entertainment-industry-ae1a76121072, Erişim tarihi: 17.09.2023.
• Beren, D. (2023). “The 8 Absolute Best Open-World Games of All Time”, https://history-computer.com/the-8-absolute-best-open-world-games-of-all-time/, Erişim tarihi: 17.09.2023.
• Bitmob, (2010). Are Cut-Scenes Ruining Video-Game Stories?, https://venturebeat.com/games/are-cutscenes-ruining-video-game-stories/, Erişim tarihi: 13.09.2023.
• Buckler, M. (2013). A History of The Videogame Narrative, The Amherst Student, https://amherststudent.amherst.edu/article/2012/10/31/history-videogame-narrative.html, Erişim tarihi: 20.07.2022.
• Bunting, G. (2020). “Seeing Red: Movement and Navigation as an Artform”, https://www.superjumpmagazine.com/seeing-red-movement-as-an-art-form/, Erişim tarihi: 17.09.2023. Chikhani, R. (2015). “The History of Gaming: An Evolving Community”, https://techcrunch.com/2015/10/31/the-history-of-gaming-an-evolving-community/, Erişim tarihi: 12.09.2023.
• Faulkner, J. (2022), “Does Elden Ring Have a Good Narrative?: The Game Awards Nomination Controversy Explained”, https://www.gamerevolution.com/guides/913392-elden-ring-good-narrative-the-game-awards-nomination-controversy, Erişim tarihi: 12.09.2023.
• Gaudin, S. (2007). “The Transistor: The Most Important Invention Of The 20th Century?”, https://www.computerworld.com/article/2538123/the-transistor--the-most-important-invention-of-the-20th-century-.html, Erişim tarihi: 12.07.2022.
• Higinbotham, W. (1976). Higinbotham's 1976 Deposition: BNL Tennis Game, Brookhaven National Laboratory, https://www.bnl.gov/about/history/firstvideo.php, Erişim tarihi: 17.09.2023.
• Misch, T. (2023). “Exploring The Appeal Of Open World Exploration Games”, https://gameishard.gg/news/exploring-the-appeal-of-open-world-exploration-games/117223/, Erişim tarihi: 14.09.2023.
• Phillips, T. (2022). “Sierra Founders Remaking Colossal Cave Adventure”, https://www.eurogamer.net/sierra-founders-remaking-colossal-cave-adventure, Erişim tarihi: 17.09.2023.
• Sliva, M. (2020). “Playing Journey With a Stranger in 2020 Was The Gaming Experience I Needed”, https://www.escapistmagazine.com/playing-journey-with-a-stranger-in-2020-was-the-gaming-experience-i-needed/, Erişim tarihi: 11.08.2023.
• Smith, A. (2014). “The Priesthood At Play: Computer Games In The 1950s”, https://videogamehistorian.wordpress.com/2014/01/22/the-priesthood-at-play-computer-games-in-the-1950s/, Erişim tarihi: 09.05.2022.
• Tu, A. (2022). “The Elder Scrolls: Morrowind Proves Games Are More Immersive Without Quest Markers”, https://www.cbr.com/bethesda-elder-scrolls-morrowind-games-without-quest-markers/, Erişim tarihi: 03.08.2023.
• Wyatt, D. (2013). “2013 Bafta Game Awards: 'Journey' Wins Five Awards At British Academy Games Awards - Plus Surprise Win For 'Dishonoured'”, https://www.independent.co.uk/tech/2013-bafta-game-awards-journey-wins-five-awards-at-british-academy-games-awards-plus-surprise-win-for-dishonoured-8522442.html, Erişim tarihi: 11.09.2023.
• Zehri, B. (2023). “Fans Believe Ghost Of Tsushima Had One Of The Most Beautiful Open Worlds”, https://tech4gamers.com/ghost-of-tsushima-beautiful-open-world/, Erişim tarihi: 17.09.2023.
• Görsel 1. Tennis for Two, William Alfred Higinbotham, 1958, Brookhaven National Laboratory, ABD. https://www.bnl.gov/about/history/firstvideo.php, Erişim tarihi: 17.09.2023.
• Görsel 2. Adventure/Colossal Cave Adventure, Will Crowther, 1976, ABD. https://en.wikipedia.org/wiki/Colossal_Cave_Adventure#/media/File:Colossal_Cave_Adventure_on_VT100_terminal.jpg, Erişim tarihi: 17.09.2023.
• Görsel 3. Kalabalık arayüz tasarımı, Horizon: Zero Dawn, 2017, Guerrilla Games, Amsterdam. https://pixune.com/blog/game-hud-design/, Erişim tarihi: 17.09.2023.
• Görsel 4. Gizlenebilen sade arayüz tasarımı, Elden Ring, 2022, FromSoftware, Japonya. https://www.destructoid.com/elden-ring-discovery-forge-of-giants-visible-from-first-step-start-of-game/, Erişim tarihi: 17.09.2023.
• Görsel 5. Koşucu görüşü, Mirror’s Edge, 2008, DICE, Stokholm. https://www.superjumpmagazine.com/seeing-red-movement-as-an-art-form/, Erişim tarihi: 17.09.2023.
• Görsel 6. Kılavuz rüzgâr sistemi, Ghost of Tsushima, 2020, Sucker Punch Productions, ABD. https://ghostoftsushima.fandom.com/wiki/Guiding_Wind, Erişim tarihi: 17.09.2023.
• Görsel 7. Giriş sahnesi, Journey, 2012, Thatgamecompany, ABD. https://www.ign.com/games/journey, Erişim tarihi: 17.09.2023.
• Görsel 8. Çoklu oyuncu uygulaması, Journey, 2012, Thatgamecompany, ABD. https://journey.fandom.com/wiki/Companions, Erişim tarihi: 17.09.2023.