Game Development Reference
In-Depth Information
9.2.1 s erious g ames in The W orKplaCe
In her seminal book, Reality Is Broken: Why Games Make Us Better and How They Can Change the World ,
Jane McGonigal said: “Collaboration isn't just about achieving a goal or joining forces; it's about creating
something together that would be impossible to create alone” [10]. This is the essence of true collabora-
tion, the act of creating something together. It can make an ordinary workday into an inspiring low of
self-value-afirming acts. All the gamiication, staff leaderboards, and award badges in the world are not
going to inspire people as much as the joy of creating something together. The irst purpose of an Ideagora
is to inspire collaborative creation. How is that done, you ask? Look toward your team and ask yourself what
inspires them and how it can be translated into a virtual space. For instance, if you are creating a new ofice
design, why not have a virtual sandbox where they can push the walls and furniture around together? If your
team needs to develop a marketing strategy for street fair advertising, why not ask the team to develop a tour
of international cities together on Google Earth.
How you do it and what tools you use to do it are not as important as the fact that you do it with your team.
In fact, the irst serious game they could play together is a game about designing their Ideagora.
9.2.2 m aKing a “s ToryTelling ” p laCe
In the hands of a master salesperson, a sales pitch is a story you want to hear. It has the capacity to inspire
its listeners to invest time and money in the project and ideas it contains. Great stories will be told in your
Ideagora, just as they were in the caves of Altamira or the ancient agoras. You must design the space to support
the storyteller by giving the storyteller a place to stand and face the listeners and a screen to show pictures or
video. If you are streaming the event to a website from your virtual space, the production of that broadcast is
important. The choices of how you use the camera to show the storyteller addressing the audience is just as
important as the presentation, whether you are using your avatar-based camera to switch your points of view
or activating a scripted camera as AngryBeth Shortbread (Annabeth Robinson in real life) [11] does in her
Machinima Studio in Second Life (http://www.annamorphic.co.uk/studio.html; shown in Figure  9.2). You
might compare this kind of exposition to making a live television drama, as you cut from camera position to
camera position to “capture the action” of the story in progress and the rapt faces of the audience.
9.3 DESCRIPTION AND FUNCTIONAL ASPECTS
OF VIRTUAL CAMERAS IN A PRESENTATION
Cameras come in all sorts of forms in both the real world and the virtual one. They all have one thing in
common: They provide us with a point of view and the framework within which a narrative can be built.
Let's go through the basic qualities of virtual cameras and how they are used.
9.3.1 W haT i s a V irTual C amera ?
If you are a 3D modeler who uses a program like 3DS Max, Maya, AutoCAD, or SketchUp, you are familiar
with the way a program opens a new ile. Typically, there will be one or more images on the screen, perhaps
the top and the side view of a model as the program opens the creation space. These spaces will not have
any sense of a lens or depth of ield, although they can have perspective. If you wish to display a “parallel
projected” view, the default view camera will look at any object as if it were parallel to the drawing plane or
computer screen. Adding a new camera in addition to the default viewer makes a big difference in your obser-
vation of the model scene. With this new camera, you have control of the width of the frame or view angle,
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