Call of Cthulhu has been released
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Join Date: Dec 2007
my response (continued part 5)
04-26-2012, 11:10 AM
Conversations can be very choice-oriented while still maintaining the single ending. In short, the predestined outcome is much easier to swallow because there is the illusion that his choices had an effect. In the long run, will it matter whether the main character decides to bite her tongue or lash out at her dad at dinner? Or whether she tosses her clothes in the hamper or on the floor?
You say “can be” but you mean is “they have to be.” And that is not what Call of Cthulhu is.
Also, it is important to have the toilet scene, the shower, scene, and other light moments because they set up the personal story. It is a side story to the main plot. Each character in the show has to have a personal story. With the scene in Kaliena's room we as an audience get to see the place she grew up in. We get to see how she is off duty and when she is relaxing.
All this helps to bring the audience in to understanding Kaliena's world in a relatable way.
People can relate to being in their room, using the toilet, taking a shower. Talking to people on the phone or video display. People understand how we can be so involved into our own situation that we forget all those other things. I think that helps establish the comedy in the scene. Many players get a chuckle out of that scene, which is a nice moment in the show after the long dinner scene.
I'm asking you to think about what the holodeck looks like in Star Trek. The players are the main characters; they don't hover behind their shoulder, watching and opening every door for them. The novel can play out, the story can be written, and written well, while still giving the actors choice and freedom.
That is not true. There were many holodeck episodes where the Characters where specific people in history. In the final episode of Enterprise, William Riker walked around as the Chef on NX-01. He talked to the crew and interacted with them throughout the episode while still being a character in the holodeck event. He did not present himself as “I am William Riker because that is my character in the show.”
Data played Sherlock Holmes as it is written in the books. Captain Picard played Dixon Hill.
There is plenty of precedence in Star Trek for characters and actors to step outside their norm. Q sent the crew of Enterprise to be Robin Hood and Worf had to be a Merry man. Jayneway played the Queen.
I mean, if you didn't want to take advantage of the medium at least a little, why didn't you simply have us stand on the steps of Vulcan and read the whole thing?
You write as if this is my one and only Foundry story. We have plenty of stories in the format you prefer. This is my 12 or 13 story I have written in game.
Because, the first Act is an introductory scene, that means it is a pointer scene that tells the players, audience, and characters…why we are going on the trip…who all these people are…why are they going with us…what will happen if we do not go? Pointer scenes are dialog heavy, they occur early in the story so we can get it out of the way and not have to keep explaining things to people. It is an organized method for providing necessary information. We staged it around a formal dinner because in traditional horror movies and sci-fi movies, that is the classic method to do a pointer soon. We recreated that scene in a traditional way for style. Also, it is the way a Vulcan culture would present a story. Vulcans use rituals and formal ceremonies to tell stories.
We wanted to bring the audience into a Vulcan home and get to see some intimate scenes with in a Vulcan family home away from duty. This also helps to establish the environment as a character in the show and helps compliment Kaliena’s character progression in the story. We as an audience need to understand what world Kaliena grew up in to understand later on just how internalized her psychological struggle is. We started writing this show in November of 2010. Back then we did not have the Foundry. This is a story we created on set on the stages(interior sets) in Star Trek Online.
The story isn’t going to make much sense until you get to the end of the mosaic when you can fit all the pieces together and understand the story.
If you are playing anyone other than Kaliena, then why would you be in a Vulcan home? That doesn’t make any sense. We couldn’t stage 1000 different aliens standins to represent that to every player in the game. Foundry only allows for 250 items on a map. Part of the problem in this story is Kaliena, a young Vulcan woman who is in her 30’s, is coming to a point in her life where her past is catching up to her. Alan Hunt and Cthulhu are using this to further their own agenda. Q is trying to prevent this. But Q cannot interfere directly and Cthulhu cannot interfere directly. They have to manipulate mortal people to achieve their objectives.
See, you want us to take a 20 volume notebook of story and tell you everything to your satisfaction in Act 1. We still have 35 chapters to go. You cannot just sit back and let the story take you on an adventure. If you spend your time playing Foundry stories always looking for problems or ways to bend the story so you can have complete control, then you’re going to end up a neurotic person.
No story on the Foundry puts a player in control of the story. You can only start at point A and go to point B because the writer set the story board that way. You only get to make a decision as what type of button you get to push; dialog, UI button, and object button. Those are your only options. You’re never in control of anything in the Foundry as a player. You may fool yourself into believing you are in control, but you never are in control of anything.
In a Foundry story a player only does this [Read some dialog] + [click a button] = [move to next scene]. Even the ones highly geared with combat, all you are doing is [Read some dialog] + [click a button] = [move to next scene]. It is just done at a faster pace. The only difference in our story than other stories is our dialog is longer. In a novel, the dialog has to be longer. A story can take the view of first person, second person, or third person for verb tenses. We staged this story through the eyes of Kaliena. She is the point of view and the main narrator of the story.
The reason for this is it gives an anchor point for the show for the audience to follow. Not every player is an “I have to be in total control of everything…and I got to know now” style of player. I have played other Foundry stories where we are some other character. I have never found that to be an issue. As long as the story is good. I feel it should be left to the writer to what point of view he or she wants to take in their story that you are choosing to play. Some of us are Extroverted types who enjoy not being in the driver seat and let the author takes us on an adventure.