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NEWMEDIAM7-12
| Question | Answer |
|---|---|
| M7 | |
| Elements that form the structure of the game | Formal Elements |
| One of the game objectives is to take or destroy something of the opponent's such as the terrain, units, or both, while avoiding being captured or killed | capture |
| The objective is to catch an opponent or elude one. | chase |
| The objective is to reach a goal-- physical or conceptual-- before the other players | race |
| The goal is to arrange game pieces in a certain spatial configuration or create conceptual alignment between categories of pieces. | alignment |
| The objective is to get a defined unit or units to safety | escape |
| The objective is to win by letting others break the rules of the game | forbidden act |
| The objective of the game is to build, maintain, or manage objects | construction |
| The objective of the game is to gain and use knowledge in a way that defeats the other players. | outwit |
| The methods of play and the actions that players can take to achieve the game objectives (who does what, where, when, and how) | procedure |
| Resources must have both the utility and scarcity in the game system. | True |
| The formal elements give context to gameplay, overlaying and integrating the dramatic elements of the system into a meaningful experience. | False |
| When a person begins performing an activity, they usually have a low level of ability. If the challenge is too high, they will become frustrated. As they continue on, their ability rises, however, and if the challenge level stays the same, they will becom | true |
| The way with which characters are defined within the story by what they say, what they do, what they look like, or what other say about them. | characterization |
| Empathy is the practical function of a character to serve as a representation of the player in the game. Agency is the potential for players to develop an emotional attachment to the character. | False(Opposite) |
| m8 | |
| The lead programmer is the principal author of all the documentation except for the technical specification, which is written by the senior designer | False |
| Primarily for management so that they can understand enough about what this game is, and who it is for, without getting into too much detail; useful for the whole team to get a sense of the big picture of the game | game design overview |
| Describes all the game mechanics and interfaces in great detail; usually the tickets of the document; a document that describes the overall vision for a game. | detailed design document |
| Describes the important settings, characters, and actions that will take place in the game; usually done by contracted professional writers who will create dialogue and narration for the game. | story overview |
| Essentials to getting the necessary systems architected and the coding underway | technical design document |
| Guidelines to help maintain the consistency of the game art if several artists are going to work together on a title to create a single, consistent look and feel. Examples are character model sheets, environments, color usage, interfaces, or anything that | art bible |
| A series or chain of actions that is repeated over and over as the primary flow your players experience. | core loop |
| Describe core features and systems such as the game world, character enemies, weapons, obstacles, upgrades, levels, skills, buffs and debuffs, cosmetics, crafting, consumable items, health/lives, character creation, game difficulty options, leaderboards, | feature/system |
| The defining elements of the game, the core actions that the players engage with such as shooting, jumping, etc. | design pillars |
| A designer should tailor the game design document according to the game and project's needs and specifications-- adding, removing, renaming, or rearranging sections as they see fit. | True |
| m9 | |
| It is a multimedia presentation combining a variety of digital elements within a narrative structure. It may include text, images, video, audio, social media elements, and interactive elements. | digital story |
| Connected series of events told through words, imagery, body language, performances, music, or any other form of communication. | story |
| Multimedia presentation combining a variety of digital elements within a narrative structure. It may include text, images, video, audio, social media elements and interactive elements. | digital story |
| The overarching idea of the story, is the interpretation of the events within a story. It tells the "why". | narrative |
| The practice of combining narrative with digital content including images, sound, video, with a strong emotional component. | digital storytelling |
| The rhythm of the story and how slowly or quickly it progresses. | pacing |
| The time and location in which a story takes place-- the time, place, weather condition, social condition, and mood. | setting |
| Represented in a dramatic or narrative work who are interpreted by the reader/viewer as possessing particular moral, intellectual, and emotional qualities by inferences from what they say and their ways of saying it. | characters |
| Rarely used in fiction but often used in non-fiction and blogs | second person POV |
| "All knowing", the narrator can move from character to character, event to event, having free access to the thoughts, feelings, and motivations of any character and can introduce information where and when he chooses | omniscient |
| M10 | |
| Identical to the inciting incident-- the moment at which the herald communicates the existence of the main conflict to the hero. | call to adventure |
| The ideal villain should be more than a match for the hero, beyond what the hero is capable of defeating. | True |
| Ludonarrative dissonance happens when the narrative and game design conspire to create a situation where a character's traits are in harmony with the players. | False |
| In the real world, no one thinks they're evil. The one-dimensional antagonist of old has been replaced by a more nuanced, more believable, and much more frightening modern incarnation is the villain who thinks he's a hero. | True |
| A character who infuses comedy and lightheartedness when the story needs it the most. They are often snarky, ditzy, clumsy, or flamboyant. | trickster |
| Hints what is to come; implicit yet intentional efforts of an author to suggest events which have yet to take place in the process of narration | foreshadowing |
| The event, occurence, or action that first introduces the hero to the main conflict. | inciting incident |
| A descriptive device used to add to a person or place's regular name and attribute some special quality to the same | epithet |
| Screenwriter and film dev exev who made a seven-page memo entitled "A Practical Guide to the Hero with a Thousand Faces by Joseph Campbell" which led to the development of Disney's smash hit The Lion King. | Christopher Vogler |
| Any of several specific methods the creator of a narrative uses to convey what they want-- in other words, a strategy used in making of a narrative to relay information to he audience, develop the narrative in order to make it more complete, complicated a | narrative structure |
| It is the "once upon a time" phase of the story, during which we meet the main character and get a feel of his/her current life situation and his world. | setup |
| A character about whom the audience isn't sure-- someone who might be untrustworthy or cannot be relied on, who might betray the hero and change sides. Vice versa, he might seem to be part of the enemies and sees the error of his ways and decides to help | shapeshifter |
| The narrative ends unresolved to draw the audience back to a future episode for the resolution. | cliffhanger |
| Identical to plot point 1; this is the point at which the hero finally commits to taking on the quest and begins his journey to resolve the main conflict. | departure |
| A reference to something literary, mythological, cultural or historical that the author assumes the reader will recognize. | allusion |
| The "meat" of the story, kicking off at the point when the hero finally commits to resolving the conflict. | confrontation |
| Act II simultaneously serves the setup and the payoff: for much of what was setup in Act I and the resolution of the final conflict in Act II. Here there are increasing tension, drama, and stakes and culminates with the hero finally understanding and seei | true |
| A seemingly unsolvable problem is suddenly and abruptly resolved by the contrived and unexpected intervention of some new event, character, ability or object. | deus ex machina |
| The concept of the Three-Act Structure was expressed way back in 335BC by a philosopher who said "A whole is what has a beginning, a middle, and end" | Aristotle |
| He wrote the book "The Hero with a Thousand Faces" in 1949 | Joseph Campbell |
| Stereotypes are a small group of highly resonant character types that we see again and again in myths and stories. | False |
| Beginning the narrative in the middle of a sequence of events. | In medias res |
| A story that precedes events in the story being told-- past events or background that add meaning to current circumstances. | backstory |
| A narrative technique in which two or more ideas, places, characters and their actions are placed side by side in a narrative or a poem for the purpose of developing comparisons and contrasts | juxtaposition |
| Confrontation is where the hero makes his ultimate effort to resolve the conflict and either succeeds or fails | False |
| A swiss psychiatrist who coined the term "archetypes" | Carl Jung |
| Most of the time older and wiser than the hero, or could have been a past hero who have lived earlier. They don't usually have very long lifespans and often perish or gravely wounded even before the story is complete. | Mentor |
| The hero can't just immediately confront the villain. He must be tested by lesser villains and learn from these experiences before he is ready for the final showdown with the main antagonist. | Henchmen |
| This archetype announces tha main conflict or at least its potential to the hero. | Herald |
| M11 | |
| The film review determines whether someone will want to see the movie. It reviews test writing and vocabulary skills, adapting to different genres and events they portray, and the author's capacity to sum up some major work and report it in a cohesive, lo | TRUE |
| When writing a film review, watch the film only once to be able to get the first impression an audience will get and therefore will help you write a reaction to the movie. | FALSE |
| Research! Look for details like the name of the film maker and his motivation to make that film or documentary. | TRUE |
| You don't need to evaluate the movie from beginning to end. Leave the confusing parts as they are. | FALSE |
| Claims, opinions, judgments should always be backed up with evidences such as the plot holes, characterization, plot, structure etc. | TRUE |
| Consider and comment a movie's originality and quality of scenes. Explain how the movie stands out or whether it's just a cliche. | TRUE |
| Do not include the title, release date, background information in the introduction. That's lame. | FALSE |
| Write the whole plot in the film review, not just the summary. Audiences need to see if the author really knows the whole story to give a recommendation. | FALSE |
| Analyse the plot and creative elements such as the narrative structure, techniques, symbolism, characters, mood, and costumes when writing a film review. | TRUE |
| Opinions in writing a film review are always respected with or without samples and facts from the story or research | FALSE |
| M12 | |
| A media industry jargon for films, tv screenplays, computer programs, concepts and ideas that remain stuck in the development. | DEVELOPMENT HELL |
| A spec script should never contain the elements of shooting script | TRUE |
| A process of writing a script used for film making that have narrative elements which involve dramatic elements and other components of the film that need to be seen on the screen to serve the overall narrative like the setting, lighting, movements etc. | SCREENWRITING |
| The editing part of film production | POST PROD |
| A script is a screenplay but not all screenplays are scripts. | TRUE |
| Thoughts of the characters should be written in the description as it explains what is happening in the scenes | TRUE |
| Period in which the screenplay is written | DEVELOPMENT |
| A document that outlines every aural, behavioral, and lingual element required to tell a story in a film, video game, or tv program. It shows the movement, actions, expressions and dialogues of the characters | SCRIPT |
| A process of writing a script used for film making that have narrative elements which involve dramatic elements and other components of the film that need to be seen on the screen to serve the overall narrative like the setting, lighting, movements etc. | screenwriting |
| Placed underneath the header that describes more in detail what is happening in the scene | action lines |
| Thoughts of the characters should be written in the description as it explains what is happening in the scenes | FALSE |
| A blueprint for the film usually 90 to 120-page document | screenplay |
| Used to lead to the slugline of the next scene and emphasizes a cut | transition |
| One formatted script page in Courier 10pt font is roughly one minute is screen time | FALSE |
| The main part of the production phase in which the camera rolls to record the actors and make the movie. It is the most expensive part on the film production | principal photography |
| Texts usually written in the scenes | title cards |
| The period when shooting script is developed, securing budget for production and furnishes the framework for the production | pre-production |
| A script is a screenplay but not all screenplays are scripts. | FALSE |
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