ATLAS SkillTech University
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60 SEATS

COURSE INSTRUCTOR

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Mon Pal

BASIC INFORMATION

  • Lessons : 15 Week
  • Start Date : 29/07/2022

Hailing from the prestigious Satyajit Ray Film School, Mon has channeled his passions into Filmmaking. He is a writer, director, editor and script advisor for DigitalClay Animation Studios, Mumbai. He teaches scriptwriting, film production and editing at reputed media institutions including ATLAS School of Film and Animation, JBCN International and St. Paul's Institute of Communication Education and has also mentored and conducted workshops for Lilavatibai PODAR High School and Writer’s Unplugged. He was one of the Master Mentors for season 2 of ‘Bhor ke Samvad’ by Kalaa Kabab aur Kisee. His films have been screened in IIIFF Spain, MIFF, Kolkata People's Film Festival, KIFF, MAMI and his documentary was selected for CILECT International. He was a finalist for Cinerise 2016 Script Lab and awarded the Best Young Film Critic at the 13th Mumbai Film Festival. Other than that, you can find him in enthusiastic discussions about game design theory and collaborative storytelling.

Course Description

Course Objectives
The course is aimed at heightening a student’s creative processes. It will give them resources and material they can use for any form of Audio-Visual communication. It will also provide new approaches and methods for telling stories that are more personal and immediate. Apart from these primary objectives, the course also aims to build the following:

  1. Their sense of how stories are not just written but experienced through the medium
  2. Understanding of how different mediums are better suited for specific forms of narrative
  3. Introduce them to the concept of audience-based storytelling through in-class activities that promote social connections and narrative engagement
  4. Bring them up to speed on ways to directly connect and receive funding for their projects from their target audience, analysing the successes of Crowdfunding Platforms, online subscription services and community events

 

Course Outcomes
By the end of the course, students should be able to

  1. Design a written narrative story using interactive mediums that make use of audience participation in how the narrative plays out.
  2. Build a reactive live narrative roleplay story, and then use the feedback to craft better narrative experiences on all mediums and engage with audiences directly in live sessions.
  3. Analyse how stories seen in modern media such as films, series and books can translate into interactive medium such a social community events and tabletop and virtual roleplay games.
  4. Build on the concept and practices of making Story-bibles to give all of their related creative work a sense of consistency and intent of design.
  5. To analyse emerging interactive mediums, both on virtual spaces and offline, that will have a greater impact in the future
     

Course Content

Unit 1: Story writing

> Introduction to writing stories for mass media

> Story Structure

> Plot

> Character

> Motivation (Wants vs Needs)

> Drama and Dialogue

> Worldbuilding and Exposition

> Writing styles and methodology

> Spec-writing

> Genre writing and genre conventions

 

Unit 2: Interactive Mediums

> Contemporary interactive mediums: Interactive videos and video games

> Collaborative storytelling origins and evolution

 

Unit 3: Online RPG format and engagement

> Core rulebook formats

> Worldbuilding in rulesets

> Character design for interactive media

> Plot styles and conventions

 

Unit 4: Building audiences for Crowdfunding and long-form storytelling

> Introduction to crowdfunding platforms

> How to build an audience for a medium before an exhibition

> Future of community-driven narratives

Course Syllabus

  1. Video Games
  2. Live RPG events
  3. Storytelling exercise

Students will be sorted into two teams to perform a werewolf-themed story

  1. Engines of Drama
  2. Plot & Structure
  3. Character & Dialogue
  4. Worldbuilding & Exposition

Storywriting exercise (using one of the three engines)

  1. Branching Narratives
  2. Twinery.org
  3. Bandersnatch

Students will start creating a twine story where the viewer decides which direction to take within the story

Student’s interactive and linear stories are read out in class. They are given individual feedback on the level of engagement, interactivity and overall creativity for their work

Students will meet and discuss with a Narrative Designer for a game development studio, who will discuss about writing for interactive mediums

Case studies on successful campaigns of new media projects.

  1. Legend of Vox Machina and their community engagement platforms
  2. Digital Extremes entertainment and their weekly online community programs
  3. Annapurna Interactive and the work of Sam Barlow

Students have to submit one crowdfunding pitch that interested them and explain why it worked for them.

  1. How a story evolves over years of gameplay and interaction
  2. How good RPGs create moments as well as design characters that boost the medium
  3. Character design process

Students begin to create a character to use for the upcoming interactive story sessions. They will also need to submit a character backstory to suit the style and theme of the character

Students are given feedback on their character design assignment and character. After a discussion on the theme for the upcoming Interactive Narrative session, 5-6 students are picked to play their characters live in class.

Students participate in an evolving story with the teacher guiding the storyteller. The students must collaborate to bring the story to its conclusion while their characters wrestle with their own flaws and ideals

Students participate in an evolving story with the teacher guiding the storyteller.

As the story concludes, the participants must write a character diary about the events that have occurred while the students who were part of the audience must rewrite the events of the story from an outsider’s perspective.

Wrap up of the interactive story is followed by a discussion of the different genre tropes and conventions seen in modern films.

  1. Horror
  2. Science Fiction
  3. Any two student requested genres

Students are tasked to pick any one of six given genres to prepare a long-form story for next week’s session

Student’s work is read out in class; feedback is given on the efficacy of their genre stories. They must showcase all of the previously learned knowledge in both the writing and the performance of the story

  1. Black Dog: The Dreams of Paul Nash by Dave McKean
  2. Dramatic monologues in film and media

Students prepare and perform a dramatic monologue in class

After a breakdown of popular tv series bibles, students are tasked with preparing a story bible for their own project, keeping in mind the theme and genre that they had originally set out with.

For the final challenge, students must showcase their final project: A full Story Bible/RPG setting that includes:

  1. Introduction
  2. Synopsis
  3. Character Sketches
  4. Character Arcs
  5. Locations
  6. World rules
  7. Structure/Act breakdown
  8. Franchise Potential
  9. Closing words

Finally, students will get an opportunity to recap what they have learned and how they intend to become better storytellers and more innovative thinkers.

Course Assessment

Internal Assessment - Weightage 50%

Academics - Weightage 10%

External Assessment - Weightage 40%

Announcement

Upcoming Events

Admissions open

New batch commences in July 2022