Hilton Brighton Metropole 14 - 16 July 2020

Insight:Inspiration:Networking

DESIGN

ART

AUDIO

BUSINESS

CODING

EVOLVE

INDIE

Discoverability

Blog Guest Blog: Stories Are Places We Go To

Posted: 6th July 2016

When you think about your favourite place, I bet it’s not just a location – it’s the people who are there with you, and the things you are feeling. It’s a magical place. I think the job of a storyteller, particularly a visual one, is to elicit wide-eyed, open-mouthed wonder from their audience. And great stories make us feel like we belong inside them, they transport us to different places.

When you experience a good story, you feel like you’ve gone on a journey, returning to your own life changed by the experience. The first time I saw The Breakfast Club when I was 15, I felt like I came back older, wiser and a bit taller. And I remember watching Urotsukidoji: Legend of the Overfiend one afternoon when I should have been in school and emerging blinking into the sunlight a changed person. That was a seriously messed up place to visit, especially on a Tuesday.

I read somewhere that stories are survival training, giving you a chance to try things out in a safe environment before you might need to face them in real life. In hero’s journey structures, there’s always a phase where the protagonist acquires and tests out new skills before they master them in order to triumph in the climax.

Like dreams, stories are places we visit in our minds. The fantastical, and unsettling, nature of dreams and stories intertwine in cinema, television and games. Nightmare on Elm Street is a brilliant example of this, or the work of David Lynch, like the creepy scene in Mulholland drive where a man has brought his friend to a diner because he has dreamt about being there with him, and being scared. The source of the fear is a third man, “in the back of this place”: someone so scary that our erstwhile hero hopes never to see his face “outside of a dream”, yet before we know it, he’s headed out back to see if the man is really there, at which point Lynch switches the a point of view shot and we become the man, travelling towards the place which terrifies us.

In Back to the Future, we find ourselves aligned with the hapless Marty McFly, struggling at home with our cowardly father and alcoholic mother. However did these two deadbeats even wind up together? The mum recounts the story of how they met, but something doesn’t ring true. Marty ends up visiting the story himself by travelling back in time. In doing so, he smashes the story to bits and has to piece it back together in order to return home. Back at home in his own time, he momentarily becomes a helpless observer in his own story, watching as his friend Doc Brown is shot down.

I’m rambling on about this stuff because I think it’s particularly interesting given the surge in 360 degree video and virtual reality; advances that might herald a new era of immersive storytelling. Anyone who’s a cinephile and telephile knows what its like to want to live inside a favourite film or show. Good stories have always allowed us to do that, but using head-sets and 360 degree environments, we might take one step further.

I got really excited when I first discovered you could create interactive video that responded to what the viewer was doing: sharing control with the viewer over how the story unfolds rather than it carrying on regardless. Edits and music that change dynamically depending where the viewer is looking or what they are looking at with their mouse cursor (now finger). My first major foray into this world was a horror experience called The Burning Room, and I still love the sense we managed to instil of being present in a haunted place.

Sitting in a cinema or living room while the stories play out on screen allows you to experience love, terror and everything in between while simultaneously feeling the comfort of not really being there, of the characters being oblivious to you spying on them. Some filmmakers have played with this brilliantly, like Lynch’s POV shots, Michael Haneke acknowledging our complicity in his brutal Funny Games, or the classic fourth wall breaks in comedies. Deadpool prides itself on having a fourth wall break within a fourth wall break; “That’s like, sixteen walls!”

When you are free to look and roam around inside a story world, there’s potentially even more fun to be had with these concepts. Like immersive theatre in which the characters/actors are simultaneously aware and unaware of your presence. You can be acknowledged or ignored, the centre of the action or on the periphery. Perhaps you get left in one place while the story is happening down the corridor and its up to you to go and find the next act. Like real life, you can be anonymous in a crowd, a star in the movie of your life, or free to explore and find meaning – assuming you’re not supposed to be at school or work, or perhaps then also.

Stories are places we go to. Good virtual reality stories could be places you want to stay.

Jon Aird
Producer, writer and creator with a track record in making smash hit projects across online, social media and TV. Passionate about future trends and harnessing technology to delight audiences. Past projects include the BAFTA award winning digital Psychoville Experience and the viral hit interactive video The Burning Room.

Jon will be delivering a session at 11.15 on Thursday 14 July entitled Virtual Reality Thrills, Spills and Bellyaches

http://www.jonaird.co.uk

Share this page

LATEST NEWS

The Question with Jack Attridge from Flavourworks 27th June 2019

Guest Blog: 5 tips for avoiding prototyping mistakes on your next game 21st June 2019

Develop:Brighton Announces Finalists of Ninth Indie Showcase 18th June 2019

The Question with Kevin Agwaze from Game Workers Unite UK 13th June 2019

The Question with Haden Blackman from Hangar 13 6th June 2019

Frontier’s David Braben to Deliver Develop Brighton 2019 Keynote 3rd June 2019

Develop:Brighton’s a great conference. It’s got a spread of people from all parts of the games industry talking about such a wide range of topics.

David Amor

Mag Interactive

I absolutely love coming to Develop, it’s a brilliant, brilliant conference – you just know you’re guaranteed to meet everyone.

Jo Twist, OBE

Ukie

I’ve felt a big passion here at Develop!

Tetsuya Mizuguchi

Enhance Games

Develop is the must-attend event for the games industry in the UK. It’s where we all come together and learn from each other. It’s the best way into the industry and it’s the best place to learn from your colleagues.

Hannah Flynn

Failbetter Games

One of the things I like about Develop is it brings people together from across Europe and the whole world. There is a very high level of professionals here, so you have company leaders having drinks with juniors from their community.

Dr Mata Haggis-Burridge

NHTV

There’s something creative about Brighton, so it’s the perfect place to have the conference.

Graham Devine

Magic Leap

Develop is an excellent way of catching up with people – there’s a really nice community feel here.

Mike Bithell

Mike Bithell Games

There really is a huge mix of people at Develop - loads of peers that you can learn from and the perfect blend of every element of game development as well.

Alex Moyet

Curve Digital

Develop is important – the networking is very important. And go to talks they’re inspiring and get your creative juices flowing, they can make you think and you’ll learn how other people do things.

Jason Kingsley

Rebellion

We are so lucky to have Develop here in the UK. It’s a unique event where you can come and discover new things with people who care passionately about video games. It’s a sea full of new ideas.

Jonathan Smith

TT Games

Get involved today!

There are many ways you can be part of Develop:Brighton 2020 - including speaking in the conference, taking a booth in the Expo or becoming a sponsor.

Find out more