# NARRATIVE DESIGN With a strong background in philosophy and editorship, I can identify structural and conceptual flaws that are often overlooked in game narratives. I develop original characters with a personality and a coherent inner world that guides how they act within their environment. Cohesive worldviews contribute to a cohesive game world. Especially when world-building draws on real historical cultures, which are often stranger than fiction. Stories in these worlds gain a genuine emotional depth when they balance a smart approach to medium’s specific capacities with refined literary tools. ### Odyssey **Genre**: Cinematic Adventure Platformer **Team**: *Nowe Soft LLC*, Bar, Montenegro **Vision document**: [Google Drive](https://docs.google.com/document/d/1c624hMwBzu8cLtTqDdautxU3GJYbz78pUUgBWFEeqcc/edit?usp=drive_link) **Responsibilities**: Created scripts, storylines, bios and dialogues. Applied research background to ensure a cohesive tone and integration of narrative element into gameplay systems (UI, puzzle design, environmental storytelling). Facilitated narrative decision-making within a professional team of developers and artists. ![[ATTACHMENTS/Odyssey.gif]] *Credit*: Igor Afanasiev *** ### The Heart of PLasTiciNe jUnGLes **See further**: **[[IntentionallyBlank/NARRATIVE/Concepts/The Heart of PLasTiciNe jUnGLes|The Heart of PLasTiciNe jUnGLes]]** (2023). A narrative game concept for a souls-like metroidvania that uses metaphysical concepts to make conditional game mechanics (death, teleportation, craft, etc.) a meaningful part of gameplay and lore. Developed comprehensive narrative documentation, including the narrative bible, character bios, dialogue, script (see [design docs deck](https://docs.google.com/document/d/1Q1wtPz0ZfYxyRKKBfAZAsK7cIvGw2jLg/edit?rtpof=true&sd=true)). ![[ATTACHMENTS/PlasticineJungles_Flowchart.jpeg]] *** ### Narrative Tools > "*There are infinitely many possible worlds, mutually disconnected spatiotemporal systems each as real and concrete as our own actual world. For Lewis, strictly and literally there are talking donkeys, because there could have been talking donkeys (as we may all agree), so some possible world contains talking donkeys, which are just as real, alive, and made of flesh and blood as any donkey you have ever seen. Of course, those other worlds are not open to our observation; there are no trans-world telescopes*" - Williamson on Lewis's metaphysics. As a counter-argument, Chalmers develops a conceptual tool: the cosmoscope. This device makes it theoretically possible to peek into other worlds. The [[IntentionallyBlank/MODELING/Cosmoscope|cosmoscope]] that I made can peek into other's minds to detect [[IntentionallyBlank/GAME DESIGN/Thoughtcrimes|thoughtcrimes]]. Also, my [[IntentionallyBlank/MODELING/Hypercamouflage Submarine|submarine]] has cosmoscopes for periscopes and travels between game worlds. These are my **narrative tools**. ![[DESIGNS/ToyWorldsAtlas/Gameplay/E_Orangery_GIF.gif]] *** ### Conceptual Characters Similarly to toy models, conceptual characters help to explain and exemplify a particular idea. As perfect physical simulations, their behaviour simulates a specific form of thinking or an ethical prescription in a perfect, sterile way. - [[IntentionallyBlank/MODELING/Hypercamouflage Submarine|Hypercamouflage Submarine]] - [[IntentionallyBlank/NARRATIVE/Characters/Dancing Stars|Dancing Stars]] - [[IntentionallyBlank/NARRATIVE/Characters/Inanimate Angels|Inanimate Angels]] - [[IntentionallyBlank/NARRATIVE/Characters/Knights of Sunny Smiles|Knights of Sunny Smiles]] ![[ATTACHMENTS/DancingStars_Gif.gif]] *** ### Narratives: Essays & Discourse *Archetypes & story composition*: - [[IntentionallyBlank/RESEARCH/Deconstructions/2024. The Narrative Structure of Death Simulation|A Narrative Structure of Death Simulation ("Pathologic 2")]] (Conestoga, 2024) - [[IntentionallyBlank/RESEARCH/Deconstructions/2024. A Nomad is Always Home|A Nomad is Always Home]] (Conestoga, 2024) *Ideological narratives*: - [[IntentionallyBlank/RESEARCH/Deconstructions/2024. Game Advertisement for Corporate Demons|Cruelty Squad turns its CEO into a corporate demon for marketing purposes]] (Conestoga, 2024) - [Кому продать душу? Демонология корпоративной культуры](https://telegra.ph/Komu-prodat-dushu-Demonologiya-korporativnoj-kultury-12-12) / A Demonology of Corporate Culture (eto_basis, 2023) - [[IntentionallyBlank/RESEARCH/Articles/2023. Is There a Rise of Totalitarian Propaganda in Russian Game Industry?|Is There a Rise of Totalitarian Propaganda in Russian Game Industry?]] (University of Krems Press, 2023) - [[IntentionallyBlank/RESEARCH/Conferences/2021. Ludic Political Mythology|Ludic Political Mythology]] (MSU, 2021) *Philosophy through games*: - [[IntentionallyBlank/RESEARCH/Essays/2025. Doors that Never Open -- Disco Elysium and The Reverse Engineering of Love|The Reverse Engineering of Love]] (Conestoga, 2025) - [[IntentionallyBlank/RESEARCH/Essays/2024. Two Types of Doors|Two Types of Doors]] (Conestoga, 2024) - [[IntentionallyBlank/RESEARCH/Deconstructions/2024. The Speed of Thought. An Ontological Analysis of 'A Slower Speed of Light'|The Speed of Thought. A GFI Analysis of 'A Slower Speed of Light']] (Conestoga, 2024) - [[IntentionallyBlank/RESEARCH/Essays/2024. Ludic Mind-Snatchers|Garage Heathen's mindsnatching "Who's Lila?"]] (Conestoga, 2024) - [[IntentionallyBlank/RESEARCH/Essays/2021. Diving the Uncanny Valley|Diving the Uncanny Valley]] / The Ontology of Personal Identity in Frictional Games's SOMA (MSU, 2021) ![[MODELS/GameModels/Aporia-Epiphany_scheme.png]] *** ![[IntentionallyBlank/APPENDIX/plasticine.(_IB_)]]