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Abstract

Environments are integral to storytelling, we know this for a simple fact in games and movies. Technology has allowed extensive growth when designing these environments, trailers for games display sweeping landscapes for players to explore while movies take us to further and more alien worlds. Storytelling has gone hand in hand with environments since the first cut-out wooden bush was placed onto a theatre stage to symbolise ‘outside’, but this growth and expansion has not been without setbacks and opposition.
While the environments continue to become more alien how do audiences recognise and believe these environments? When the core concept of the design is to be so alien that it’s like nothing an audience has seen before do we risk ruining games and movies that want to explore these worlds?
After interviewing thirteen peers this paper explores how Environments can avoid breaking the suspension of disbelief by application of fundamental design principles alongside Prototype Theory and understanding Categorization. I then present my findings along with a working diagram that helps filter out and focus the design process for Environments in Films and Games.

Course: Computer Animation - BSc (Hons) - C1555

Date Deposited: 2019-11-22

URI/permalink: https://library.port.ac.uk/dissert/dis13504.html