| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DGD045 | ||||
| Course Name: | Advanced Storytelling and Script Writing | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | Departmental Elective | ||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||
| Course Coordinator: | Dr. Öğr. Üy. İSMAİL ERGEN | ||||
| Course Lecturer(s): | Doç.Dr. Nuri Kara | ||||
| Course Assistants: |
| Course Objectives: | Among the objectives of the class: -game and story relationship -the relationship between story fiction in the game and other narrative media - narrative layers and process -different narrative formats -digital game platforms and narratives - deconstructive analysis of digital games in terms of narrative |
| Course Content: | This course introduces the process of creating stories in video games and the approaches used when designing specific narratives for games. These creation trends, which differ specifically for different game genres, will be explained from the ground up and the steps that a game designer must take while establishing a story structure will be discussed with students. |
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The students who have succeeded in this course;
1) As a result of this course, students will have the ability to use appropriate terminology and concepts to describe and analyze narrative design in digital games. 2) As a result of this course, students will have the ability to combine and compare their traditional storytelling skills with interactive digital media concepts. 3) As a result of this course, students will have the ability to analyze narrative driven digital games. 4) Students will learn the basics of other interactive narrative forms. 5) Students will be able to design and develop a narrative driven board game. |
| Week | Subject | Related Preparation |
| 1) | Introduction and Syllabus Review | |
| 2) | Reading: Games Telling Stories? Jesper Juul | |
| 3) | Reading: Towards Computer Game Studies, Part 1: Narratology and Ludology, Markku Eskelinen | |
| 4) | Reading: Story and Narrative Structures in Computer Games, Craig Lindley | |
| 5) | Creating Story Synopsis | |
| 6) | Character Development and Describing the World of the Game | |
| 7) | Midterm Project | |
| 8) | Reading: Game Design Narrative for Learning: Appropriating Adventure Game Design Narrative Devices and Techniques for the Design of Interactive Learning Environments, Michele Dickey | |
| 9) | Reading: General Principles of Level Design, Ernest Adams | |
| 10) | Reading: Simulation Versus Representation, Gonzalo Frasca. http://www.ludology.org/articles/sim1/simulation101.html | |
| 11) | Working on the Game Development Project and Presentations | |
| 12) | Working on the Game Development Project and Presentations | |
| 13) | Working on the Game Development Project and Presentations | |
| 14) | Game Project Submission | |
| 14) | Game Project Submission | |
| 15) | Final Week |
| Course Notes / Textbooks: | Required readings will be provided by the instructor. |
| References: | Additional readings will be provided by the instructor. |
| Course Learning Outcomes | 1 |
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| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 2 | 3 | 1 | 1 | ||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 2 | 3 | 1 | 1 | ||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 3 | 2 | 3 | 1 | 2 | |||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 2 | 3 | 2 | 3 | ||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | ||||||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 2 | 2 | ||||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | ||||||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 2 | |||||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 1 |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 2 |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 1 |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 2 |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 2 |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 1 |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 1 |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 1 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 10 |
| Homework Assignments | 4 | % 60 |
| Final Sözlü | 1 | % 30 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 100 | |
| PERCENTAGE OF FINAL WORK | % | |
| total | % 100 | |
| Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
| Course Hours | 14 | 2 | 28 | ||||
| Laboratory | 14 | 2 | 28 | ||||
| Homework Assignments | 12 | 3 | 36 | ||||
| Final | 1 | 8 | 8 | ||||
| Total Workload | 100 | ||||||