The final project was a massive undertaking by two parties,
requiring a fair amount of explaining and example giving from both parties.
This became an incredible asset during development, as by describing our ideas and providing examples,
we could communicate and implement the mechanics more effectively, as well as
track the evolution of such mechanics through research. While the story was
provided by the other party, there was a lot of discussion regarding the basis
of the plot, its inspiration and its continued use throughout literature. The
theme of nature vs. machine has taken many forms over time, most prominently films
such as Avatar [Cameron. 2009], Metropolis [Lang. 1927] and The
Terminator [Cameron. 1984] to varying degree. "'Nature,' for the
purposes of designing conflict and plot, can mean the natural AND the
supernatural. In fact, 'Nature' is any kind of unstoppable force
that is both primal
and pervasive" [Oatley. 2012]. The re-appropriation
of this story structure is a familiar subject for many audience members, but
can be used in various settings. With most of these stories, including our
Nimbus project, bearing a striking similarity to The Epic of Gilgamesh, often considered the earliest
surviving piece of literature. "The first part of the Sumerian Epic of
Gilgamesh, as we know it, tells of how the kingdom of Uruk has fallen under the
terrible shadow of a great and mysterious evil. The source of the threat is
traced to a monstrous figure, Humbaba, who lives half across the world, at the heart
of a remote forest. The hero, Gilgamesh, goes to the armourers who equip him
with special weapons." [Booker. 2004:21].
The mechanics of Nimbus draws heavily on the genre's early history. 2D
Side Scrollers generally, particularly during its earliest incarnations in the
80s, focus primarily on platforming across the X axis. A prime example and source
of inspiration on the project, was that of Super Mario Bros. [Nintendo. 1985], taking its battle mechanics, somewhat from early
incarnations of Castlevania [Konami. 1986], art
stance from the likes of Rayman [Ubisoft. 1995], and
sense of depth and scope from Sonic the Hedgehog [Sega. 1991]. The
ability to draw upon various influences, on both an stylistic and spiritual
level, allows the project to more deeply connect with the culture that birthed
it, giving it ties in a literal and pop culture basis, reflecting the culture
that has developed and created it.
With two parties developing the project, multiple perspectives
could be used to perfect storytelling aspects. Allowing for mechanics and the environment
to portray as much of the story as the dialogue does.
- Booker, C. (2004) The
Seven Basic Plots: Why We Tell Stories. A&C Black. Edinburgh.
- Cameron, J. (1984) The
Terminator. [Blu-ray]. Pacific Western. Cinema 84. Orion Pictures. 20th
Century Fox.
- Cameron, J. (2009) Avatar.
[Blu-ray]. Twentieth Century Fox Film Corporation. Dune Entertainment.
- Dragas, A. (2016) The
Return of the Storyteller in Contemporary Fiction. Bloomsbury Publishing.
London.
- Konami. (1985) Castlevania.
[Cartridge] Nintendo Entertainment System. Konami Holding Company. Minato.
- Lang, F. (1927) Metropolis.
[Blu-ray]. Universum Film UFA. Paramount Pictures.
- Oatley, C. (2012) Man
Vs. Nature: It's More About Dying Than Surviving. [Online] ChrisOatley.com.
Available from: http://chrisoatley.com/man-vs-nature/ [Last Accessed:
02/05/2016]
- Nintendo (1985) Super
Mario Bros. [Cartridge] Nintendo Entertainment System. Nintendo Co., Ltd.
- Sega. (1991) Sonic
The Hedgehog. [Cartridge] Sega Mega Drive. Sega Co., Ltd. Tokyo.
- Ubisoft. (1995) Rayman.
[Disc] PlayStation. Ubisoft Entertainment S.A. Rennes.
