Virtual Reality and Nonlinear Narrative in Games

Nonlinear narrative is an important aspect of the future development of video games and developing new audiences.  The resurgence of VR technology in the context of video games further affirms this idea.  Putting the control of game narrative into the hand s of the player is an important aspect for the future of video game development.

Immersive narrative enriches the gaming experience. There is documentation that nonlinear narrative will bring newcomers to video games. Recent developments in and the popularity of VR games affirms this idea. Putting players in known environments with a known story that they can expand on, is a new direction for games. From cave paintings to radio broadcasts to VR, storytelling is a way of making sense of the present. (Gera, 2019)

Immersion can be conceived in two ways: as a technological effect or as a mental state. The two cannot be totally dissociated, since the immersivity of a technology is always a measure of its ability to induce immersion as a mental state. In VR interactivity leads to immersion because it connects the user to the environment. (Ryan)

The challenge to the gaming industry is to bring this new narrative style to players to create more encompassing stories that they can relate to and ultimately create new myths. ASIMOS, (2018). For the industry this will provide more interesting and immersive experiences for the players. VR technology, VR gaming, further puts the player in the driver’s seat, controlling the narrative.  


  Narrative is about the actions of people, about their relations to other people and to their environment, but not every sequence of actions and events constitutes a well-formed narrative. (Ryan)

Narrative game mechanics create a pathway for gamers to participate in the creation of their own stories, in game. This allows them to feel empowered as they build story from their own imagination within the construct of the game. (Dubbelman, 2016).

            The renewed influx in VR technology gives storyteller’s and developers new avenues to create. In games interactivity has an immersive effect since players are consumed by the desire to solve problems. The immersivity of computer games comes not only from the agency given to the players and from the desire to beat the game or other players. (Ryan)

Current Research

Games, video games in particular, are purchased and played by people in virtually every demographic. The popularity of games higher than ever. Studies and papers are being produced that look at the legitimacy of games, and their narrative myths can be considered as literature. (Domsch 31). Storytelling is one of those ancient crafts that has survived several millennia and will likely continue to exist as a pinnacle achievement of human civilization. Over the years, media has changed and diversified, technology has evolved, but people’s craving for good stories remains. (Melior, 2020)

New developments in VR tech and renewed interest by the public makes this a unique time in game development.  Developers can create entire worlds or place the players in an existing story for them to be in control of a make choices in the story in full control.  But even if their narrative potential does not rival that of novels or film, computer games still have much to gain by trying to realize this potential. (Ryan)

Storytelling, narrative, in entertainment can be experienced differently by different players in the same game. Their perceptions and choices can help determine the focus of the narrative and determine if the narrative becomes myth, or not. (A, 2018)

Like the stories once told as forms of entertainment during feasts, myths are the narratives we use as entertainment, and powerful entertainment. The popularity of a narrative can help point to what could be myth Two players may encounter an aspect of the narrative at different times and thus have different emotional responses to it. Not only that, but a different player may not experience this narrative at all.

The different levels of engagement with a game is what makes video games an interesting cultural artifact. Having studied playthroughs by numerous players in a game, it showed that the player experience was different for each, dependent on their emotional responses and choices. The more popular storylines with players, then became the myth of the game. (A, 2018)

There is no doubt that a 3D, 360 degree representation of an environment will enhance video games by intensifying spatial immersion. (Ryan)

Narrative can assist in game development at nearly every stage and can be found in most games, examples such as (Super Mario Bros.), puzzles (Tetris), fighting (Street Fighter), or narratives (Final Fantasy). (Domsch 31).

This concrete, representational dimension creates a connection between computer games and narrative, for if games construct worlds, and if players can perform actions that change the state of these worlds, there must be some kind of story that unfolds in the game world, thanks to the player’s activity. (Ryan)

Narrative myth is used most obviously in cutscenes, character dialogue and in game text.  These uses of narrative can be found interspersed between player directed action scenes. In exaggerated cases, for some video games, these narrative scenes dominate the game, leaving game play as a minor aspect of a game. A games writers and developers choices determine which may be more accentuated in the final product, giving players control of the narrative myth in a game.  (Domsch 31).

            The success of the VR narrative extension Vader Immortal demonstrates that even a variety of familiar mechanics can feel fresh and exciting when contained within the framework of a meaningful story, especially when that story has a genuine impact on the rest of the transmedia story world. (Hergenrader, 2020)

Writers in game design have far reaching impact on a project. Evan Skolnick, a former journalist and Marvel Comics writer transitioned into video game development in 2001. Since then, he is worked across different platforms and genres, on dozens of well-known titles, including Marvel: Ultimate Alliance 2, Star Wars Battlefront, Mafia III, and The Walking Dead: A New Frontier. (Milano,2019)  Also an author, his book, Video Game Storytelling: What Every Developer Needs to Know About Narrative Techniques published by Penguin Random House, has earned the adoration of some of the most discerning critics in the video game industry. (Milano,2019) 

There are several primary methods to use narrative in a game.  Linear narrative is a story that is being told from start to finish. Linear-Branching, a mostly linear game but with few branching choices that lead to the same ending. There are also Non-Linear narrative games which are full of narrative but allow the character more control to explore the narrative story line that speaks to them. (Harry, 2016)

Some games structure the narrative very tightly and use writing and design and animation  to very clearly put forth their vision of the story , leaving little to the players imagination As an example, the game  Uncharted 4: A Thief’s End is so carefully crafted that every little detail made to make it feel alive. A player’s level of involvement and attachment to a narrative in a video game, their emotional connection can extend beyond the time spent playing the game. They relive favorite moments and actions in a game in their mind. They recount these stories to their friends. (Polgar, 2018) 

All aspects of their involvement in the story become the players story to re tell. When they are emotionally engaged in the story of a video game through participation. This builds on the idea that video games are a modern version of myths.

Proposed Direction

The game Industry should skew its products towards nonlinear narrative products, which will create a stronger connection with consumers to their products. Nonlinear narrative is conducive to players forming an emotional connection and their own stories in game, leading to new narrative myths.

There are more tools than ever available to game designers when they integrate narrative storytelling into all aspects of their design.  This creates a challenge to designers- when and where to incorporate these tools to further engage the players.  How to create multidimensional video games with interactive and immersive storylines, where color design choices and subtle interactions are just as important to the storyline as dialogue or setting. And rising to meet the challenge, at the new frontier of immersive storytelling, is an entirely new breed of storyteller: the narrative designer. (Milano, 2019)

            In one of the most popular styles, The player explores a computer simulated world and uncovers a story that took place in this world, often by finding tell-tale objects such as letters and diaries, or simply by listening to voices that narrate past events when the player reaches certain locations in the game world. (Ryan)

            VR Technology lends itself to this style. By immersing the player in a virtual world, removing the presence of a computer (visually) they become one with a story that they can manipulate. (Ryan)

A game that is skewed towards storytelling and creating myth can have narrative scenes interspersed throughout a game at key points to focus this. Game design may dictate the timing of these events relating to player choice.  It can be surprising to non-gaming industry people to find out how much storytelling and myth creation exists in video games, or that it does at all. The research question becomes one looking at what these new narrative myths have to offer to the literary world. Do these stories contribute to the literary world? The research question then becomes whether video games offer the literary world something new and legitimate to work with. Video games are more than the common caricature of mindless entertainment and should carry more weight. (Somerdin, 2016)

An example of this move to nonlinear narrative is the video game, Dark Souls. The narrative is present, and the lore is given in small elements revealed through interaction with the world. How this is revealed, to what level, and in what order, is controlled through the actions and gameplay of the player. The emphasis is on world building, and the few elements of scripted cutscenes are esoteric at best. So, there is a high level of implicit gameplay elements, and a low level of directly scripted narrative. The narrative of the game is present but is hidden and revealed through gameplay rather than through a linear set of events. (A, 2018)


External Validity threat is a conclusion that is arrived at using generalizations relating to the topic or data. This study relies on user experience and each user comes to a game with a different point of view or relationship to a game. Thus, their reactions become generalizations as they relate to the game.

In VR game development, the very nature of player control may be a detriment to enjoyment. If a story truly captivates the reader, the effort needed to discover it by finding a way to progress through the game world may be more annoying than gratifying. (Ryan)

Why do big-budget AAA games tend to favor the full linear narrative game style. First, games intended for huge audiences do best when they can guarantee a good experience to the largest amount of people. Having a possibility of missing interesting plot points or going down the uninteresting storyline means that a percentage of their players are not recommending the game as highly to their friends. Second, it takes a lot of money to create content. If you are paying big-name actors to voice and mo-cap your games, you are much less inclined to want to create content for dozens of optional side-quests and alternate story paths. (Harry, 2016)

Games with more cinematics than game play, more forced narrative, draw lots of criticism. The selections that large game studios produced for E3 2016 are a prime example. The clips that game companies provided often relied on nothing but cinematics to involve viewers. But is that because the publishers do not have anything else to show? Is it because their gameplay is nothing special? Or is it because the “interactive movie” is what people really want? (Harry, 2016)

Some of the more successful VR products are VR experiences, rather than interactive games. AN experience puts a player in an existing space that they can be immersed in and explore. Without having to solve game puzzles or determine paths of success, they truly are “in” the VR space, not thinking about its story but are in the story, exploring. (Ryan)

Too much realism can be another limitation to nonlinear narrative. Games that imitate real life or mirror it run the risk of alienating players with too much repetition and “real” real life action of everyday mundane tasks. Rettberg (2008) writes: ‘Though playing the game itself a form of escapism from the demands of life in the real world, it is somewhat paradoxically a kind of escapism into a second professional life, a world of work’.  Repeating tasks to accrue resources or make progress can be rewarding, although they can become mundane. However, this kind of activity in game can lead to boredom and remove the incentive of playing a game for fun. (Kim, 2014)


Virtual Reality technology is ideal for incorporating nonlinear narrative storytelling into game development. Additionally, narrative storytelling through video games can become myth. As stated in Games as a Myth (A, 2018) it is possible for games to have a larger impact on a person, if players are given the leeway to become as involved in a story as they would like, or the game designers will allow. Their encouraged emotional connection to a story makes video games more than “Just a game”.

Virtual Reality technology lends itself to successful nonlinear narrative and the future is very bright for its potential, which remains to be seen, a potential that is only just beginning to get tapped. (Ryan)


Somerdin, M. (2016). “The Game Debate: Video Games as Innovative Storytelling … Retrieved May, from

Milano, D., Mercante, A., & Neville, R. (2019, June 07). Narrative Design and the Future of Video Game Storytelling. Retrieved May 30, 2020, from

Harry, Fernando, Dact, & DarkForestCrow. (2016, November 05). Does Linear Narrative Belong in Video Games? Retrieved May 30, 2020, from

Polgar, A. (2018). Plot, Participation, and Playing Pretend: Narrative Pleasure in Single-Player Video Games.

ASIMOS, V. (2018). Playing the Myth: Video Games as Contemporary Mythology. Implicit Religion, 21(1), 93–111.

Kim, J. (2014). Interactivity, user-generated content and video game: an ethnographic study of Animal Crossing: Wild World. Continuum: Journal of Media & Cultural Studies, 28(3), 357–370

Bruns, A. 2008. Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage.

New York: Peter Lang.

Milano, D., Mercante, A., & Neville, R. (2019, June 7). Narrative Design and the Future of Video Game Storytelling. Retrieved from

Hergenrader, T. (n.d.). Transmedia St ansmedia Storytelling, Immersiv storytelling, Immersive Storyworlds, and Vir yworlds, and Virtual Reality. Retrieved 2020.

Dubbelman, T. (2016). Narrative Game Mechanics. Interactive Storytelling Lecture Notes in Computer Science, 39–50. doi: 10.1007/978-3-319-48279-8_4

Ryan, M. (n.d.). Narrative in Virtual Reality? Anatomy of a Dream Reborn.

Gera. (2019, May 02). Not quite film, or games … is interactive mixed reality the future of storytelling? Retrieved December 18, 2020, from

The Importance of Storyline in Mobile Games. (2020, May 04). Retrieved December 18, 2020, from

Till Next Month

Dylan Smith

Month Nine Project C Postmortem

Project C – Postmortem

    In month nine, Team C has been continuing developing Project C. Project C is an isometric real-time RGP inspired by other games of the genre such as the Diablo series. The team consisted of three developers, two designers, and two artists. Both artists focused on making weapons such as swords or guns for the entire month, which I was one. Our three developers were all split between different tasks to try and make it simpler to integrate and manage. We had one designer. The entire project was developed using Unity as the engine, Maya as a modeling software, Google docs for any documentation, Visual studio for programming, C# was the language used, and Github was used for source control.

Overall, the development went well although there were some minor setbacks and complications. With all the issues within the project the team moved forward and the project ended well.

What Went Right


    During the development of the entire project the team had amazing communication. We had meetings every Monday, Wednesday, Friday and Sunday. Even though I had never worked with this team before it was easy to communicate with and get my tasks. The entire team was part of the discussion where this project stood and where we want this project to proceed. This was an amazing thing for the project because it helped us flesh out the ideas, call each other out on what is going into the game and what changes we would make. This was important because there was not any bad and pointless mechanics going into the game without the entire team agreeing to it.


The team set the mood to the game in a previous month. The mood of the game was set to be a dark and horror feeling to it. The theme of alien attacking a fantasy country set to the game play of Diablo was captured perfectly.


The team was updating the game at every meeting with assets and new script.  It was very easy to add in the swords and other weapons I made into the game. The team was on top of it whenever I had an asset ready to import.

What Went Wrong

Source Control:

To put it simply, GitHub was the largest issue we had in the first half of the class. The group had clogged up the GitHub and we had to individually upload every file in the game back into a new Github repository. Something we can do next time to avoid this issue is keep all our work in different branches so when we push it That won’t mess up the master branch. This mistake caused a pause for five days none of us could push our work into the game which became horrible set back.

Bug Testing:

    We had a problem with some members of our team not properly logging bugs. It was difficult for the Devs to try and fix bug so we couldn’t get to everything to a working state by Sunday. Something we could do better is have a set document or program such as, Jira, so the Devs and bug testers can work together and not be in their own worlds during production.


The team had a problem with updating our time sheet and work log. This made it hard to tell how much time each person had done. I believe that the team was working on their task and at our meetings everyone presented their work. However, I believe in the work environment there is no way to tell if we actually had our work done due to our sheets where never filled in on time.


 Overall, the project was a success. The game did operate as we intended by the end of the class. Even with the many setbacks the team suffered the product is operational and properly portrays what the game is and how it is played. The team proved they can make this type of game and learned a lot about what to do during the development and what to avoid.

Project C

Till Next Month,

Dylan Smith

Mastery Journal Month Nine

Quality Assurance

The focus this month was Quality assurance and its integral component of the game design process, as the successful delivery of a game is dependent on an effective QA system that covers both the verification and validation of the product. This month involved, requirements generation, test plan planning and development, defect tracking, and user experience and play test assessments.  I was able to classify, and track bugs in real-world game development projects.

My first project of the month was to deep dive into any system in Unreal and present it in a presentation. I choose the VFX and Particle Effects system in Unreal and presented the transparency card system that makes up special effects foliage in video games. Fire, explosion, magic, bushes, leaves and trees are all made with card systems.  It was very interesting learning VFX inside a game engine instead of Maya. Maya does not have a restriction of parts in VFX.

I have been promoted to Art Lead at Zygobot Studios. Zygobot Studios is also the studio producing my game. This month I acquired seven people on my team for “Roll for Initiative.”

The presentation below is the month end up date if my game.

We are in full production of my game and it is technically playable. This experience has been beyond amazing. I cannot wait for you to play it!

Till Next Month,

Dylan Smith

Mastery Journal Month Seven

Reflections on the prototype Fluidity – 2D Side Scroller

The prototype our team made this month was called Fluidity. Fluidity is a side-scrolling puzzle game where the player controls a blob of water that can change its states of mater to get through each level. As a team, we were split into Dev and Design, consisting of six people in each group. In Fluidity, I was responsible for making the trap designs to hinder and assist the player in progress through each level. I put my full effort into working on the 2D trap models. I did add animation to assist the 3D and found out that it was not necessary. I had made a total of five usable models consisting of spikes, a fan, heat vent, crusher, and a buzz saw.

The prototype created by the team was viable. This venture allowed learning and utilizing Unity. The learning curve was steep with Unity compared to Unreal. The coming months will be focusing on Unreal.

What Went Right

  1. Balancing multiple ideas.  Over the month, everyone on the team put forward ideas that were implemented in the final prototype. A team of ten plus members with various backgrounds quickly came together around this idea. As a team, wanting to find a larger audience, we decided to make a game for a younger demographic.
  2. The game based on water. The synopsis of the game is a sentient blob of water named Como that can transform between the three states of matter (solid, liquid, and gas) to manipulate their form to complete puzzles. As a team, we came up with the idea so simple; it should not have worked; however, when putting this idea into a puzzle game, it worked perfectly. The controls were simple enough for almost anyone to grasp, and the puzzles made enjoyable by the fact you can change your state of matter.  

The player will be able to change between three states of matter, Liquid, Solid, Gas.

  • The Player will use the liquid state to squeeze into tight spaces.
  • The Player will use solid-state to push objects and click buttons.
  • The Player will use the gas state to float up.

3. Art direction.

It did not take long for everyone to understand the atmosphere of our game. This premise of an escaped lab experiment allowed for some very creative traps and environments. The team played with lighting traps and generated fans to enable the player to float. All the traps are set in a 2D modern laboratory.

What Went Wrong

  1. No in-person collaboration.

The most significant drawback of our game was that we could never meet in person due to the current state of affairs, pandemic. This led to some fatigue and a lack of communication.

2. Split the workforce.

Around week two, we decided to split into two teams, team A and team B. Team A was working on a prototype where the environment changed your state of the water. Team B was working on a prototype was that the player changed the state of the water. The problem was that team A was still working on team B prototype due to miscommunication, which led team A prototype unfinished for presentation. Team B prototype was polished by the presentation.

There are two prototypes that we focused on.

  • Team B- Button press to change state- this prototype has the following button map to change the state.
  • Team A- Environment Triggers- this prototype has only the basic controls and require points in the map that will change the state of the player.

3. Sick

Around week two, I got sick with the Covid19, which significantly impacted my ability to work.

4. 3D to 2D

My background is primarily in 3D, so it took me the better part of two weeks to catch up with the other 2D artists. I tried my best to keep up with what was required for the project. I faced two major obstacles during this course. First was working in 2D and an engine that I did not have experience in. The second was being sick, both things withstanding, I did everything I could to contribute to the level necessary for the project to be successful.  

Where Does Fluidity Go From Here?

I do hope our team brings this game forward to Roy’s next class. I can see this game being fleshed out and finished if most of us put in the effort. I will personally continue to learn Unity and practice my 2D art, so when or if we go back to Fluidity, I can contribute more than I did this month because I believe this prototype. 

See you next month,

Dylan Smith

Mastery Journal Month Six

This month was building on the skills from the Production Management Principles course, the Game Production Tools Course equipped me with tools used in the processes of software production and project management. I was familiarized with and conduct applied research related to project management software that aids in the management, workflow, and documentation of projects – including Microsoft Project, Visio, asset management systems, defect tracking systems, and much more.

We are still learning remotely and this class worked well via Zoom. A main focus this month was the outline for my Thesis. I changed my topic a bit and then had to do more in depth research. I did get a mentor for the rest of my time at Full Sail and she is the head of the Mastery Program. My game in is moving forward with new concept art.

This month was crazy hard and I am glad it is done.

A high point this month was my interview with Bill Howley. He is a Lead at Indie and about to graduate. Below if the YouTube interview where we talk about the Mastery Program and how a dream idea turns into an actual game.

See you next month!


*art by Wenhao Liu

NewGameMonday ~ Humanity SaVR

Host~ Dylan Smith

Guest ~ Bill Howley


Travis Richardson, Ronnie Savage, Tristen Howk, Francis Young, Donald Thatcher, Doug Pfeiffer,

Kishore Boopathi


Corey Lustig, Brian Winschel, Ozgur Kaderoglu, Ahmad Haron, Isaack Acevedo, Christen Miranda-Boulay, Dylan Smith, Gabriel Rivera Negron, Sangeet Chonkarathil

Technical Art

Rahul Yerramneedi


Rohit Lad, Sergey Mysin, Brandon Ferrentino, Sowmya Ragi


Bill Howley, Mark Pointer, Nivedita Rajesekaran, Vafajeet Singh


Cody Ray


Cynthia Long, Wes LaChance

Thank you!

Full Sail Mastery Program

Reflection Month Five Full Sail University

This month we focused on Methods and the User Experience. The course involved applying human psychology to the research of video game user experience. The science of tracking human behavior via eye movement can predict a person’s interest by the length of time they gaze on the subject.  The improvement of sustained gaze on a subject can lead to better menu systems and in mobile games, which can manipulate them to click on an item.

 The use of a pretest interview and a post-survey involving different scenarios in the narrative can decipher what the player wants to see or play more. There is a conflict of opinions on whether a narrative in a game is supported. If the research shows that the new players are tracking higher in the narrative games, there is a credible statistic for adding more narrative in games. My research topic of the importance of narratives in video games is heavily documented in the AAA industry; therefore, my focus is on the smaller market mobile and VR games. I found the MEX experience helpful in reducing the scope of the research topic. My Mastery Plan is to build a D&D based video game for PC platforms. When I get to the point of testing my game, I will have the knowledge and research to implement my own testing.

This month the refining of my research topic was added by the MEX experience.

I am building a Dungeon and Dragon type game in Indie. The elevator pitch is that it is a simple way for new players to understand D&D by playing a video game.

See you next month! Halfway!


Mastery Journal Month Four

The subject I have chosen for my Masters Thesis is “The Importance of Narrative in Video Games.” After watching a documentary on the making of God of War, I was impressed by the amount of effort in developing the connection of Norse mythology and the game’s mythology. I began research on the subject and found various articles for and against the use of nonlinear narrative in video games. Over the past four months, I have gathered multiple sources that will provide defending evidence to my theory that immersive narrative enriches the gaming experience.

There is documentation that nonlinear narrative will bring newcomers to video games. I plan on researching for more supported corroboration that the theory is substantiated.

I am continuing my work on my animated story-based series based in an alternate history, New York. If this show comes fruition, the Nerdz Garage wants to make a video game or board game based on the series.

Next month at Full Sail, hope to pitch a story-based RPG game in my capstone in the style of Dungeons&Dragons.

The two companies that I hope to work, 343 Industries and Larian Studios, have many heavy on the narrative games with multiple player choices. I have always been a creator of stories, and I hope to use that ability at work.

See you next month.

Dylan Smith

Mastery Journal Month Three Project and Team Management

There is a choice of how to be a project manager; you can be versatile or rigid. There is no one methodology to be a good project manager. I learned what worked for to succeed in the current project.
My project was to make a PM Plan to get investors for my animated series, Half Note Bridge.
These guidelines broke down the timeline and feasibility.
I feel like I have started to break ground on an idea that will be a reality.
Let me share about my series, Half Note Bridge.

Sketch of Half Note Bar

Half Note Bridge takes place in the roaring ’20s of the township of New York in a world where the Revolutionary war was lost. The Half Note Bridge is a speakeasy in Brooklyn nestled on the waterfront beneath the Brooklyn bridge. It is an unassuming storefront of old brick that yields a glamorous, marble pillared, velvet-covered chairs and a long mahogany bar. The jazz records are continuously playing until the band hits the stage.
The Half Note Bridge guarantees service and safety.

Two main Characters

The two main characters are:
The owner is a tall and slim man who is disheveled. His skin is pale, and wavy blond hair partially covers his sunglasses that are always worn. A typical twenties style suit with a vast difference; the button shirt is patterned flowers and designs, his bow tie is undone in two strains, his pants fit well but are wrinkled and paint-stained, and lastly, his elegant shoes are muddied. A shiny golden chain of a pocket watch lingers out of his left pocket. His sunglasses are expensive and clean.

The bartender is a tall slim woman with jet black hair pixy cute and a bit messy.  She wears black eye liner and red lipstick. Her suit is well made and pressed. High waisted black suit pants with black suspenders. A crisp white button up shirt long sleeved and a black velvet bow tie.

The bar is long with a polished mahogany top and dark marble front with tall black seats with a high back. Behind the bar is two massive arched pillars, each with five shelves. In the center of the two has two rows, one has wine bottles, and one has liquor. At the end of the bar, there is a coat hanger that hangs the bartender’s black jacket with the inside pocket visible that shows a long blade handle.

This class was instrumental in getting my project from paper to reality.
I look forward to giving Lester updates on every milestone along the way.

Nerdz Garage

Dylan Smith

Mastery Journal Reflections Month Two

Research and team dynamics facilitates team member self-awareness by engaging in teambuilding that helps people understand themselves and others as they work together.

Our group project was to make a game. We chose to me make a first-person shooter tower defense game. We were being very ambitious. My role in the group was producer. This role was not by choice, but by default of no one wanting this position, I stepped up. Producer is my goal to achieve during this program, though it was early to try this position, I did want to start the road of learning the skills of producer. My job in the group as leader was to keep teammates on task and be available to assist them when they need it. The system that we used for the game was unfamiliar to almost all the team, therefore most of my time was delegating to filling in the gaps that was needed in hopes to keep the project on track. It was challenging for me to keep the team on track with the deadlines.

My Experiences

During the month as my role as producer, I faced many challenges. The first week I had to familiarize myself with the basics of Level Design and the interface of Unity. Knowing this I was able to guide the level designer and writer inside of Unity so when they came across technical issues, we were able to fix swiftly and then move forward. During this week I used information from chapter six, communication, Communication Skills for Team Meetings. Levi (2018) to get communication between the coders and the level designers to a point where they could communicate the issues, they to each other, about the Unity interface issues.

 The end if the second week we hit a roadblock due to the lack of assets. I pivoted to Unity Hub to find free assets that our level designer could use. I was unable to find assets needy within a reasonable price range. I then asked a fellow Full Sail student, whose has assisted master’s students in similar situations. He made modular units that the level designer was able to use to make pre alpha layout to then give to the coders to work on AI and mechanics in Unity.

Our third week I tried alleviating some of the stress from our tech lead by learning how to set up walkable floors in Unity. Those five hours of coding lessons were enjoyable and eye opening, however that would be the last time I would be team leader because my decisions threw our team into turmoil.

The team disgruntlement paralyzed any further development in the game. Our team was fractured beyond repair. Levi (2018) Chapter 8 Power and Social Influence, I had been using the Passive Power style to that point, which is polite and deferential, but then a team member used the Aggressive Style which is, forceful, critical and negative.


Going forward I am going to learn more on how to effectively be a game producer in the industry. My current focus is inner team communication, which was my weakness link this month. I will never forget this month, not because of the negatives, but for what I learned. I have heard that failure is the greatest teacher. I learned a lot from the dynamics of this past month and know I can do much better next time. I understand that taking the leap to leadership this early and learning on the fly was a risk, but it was well worth it, despite what can be considered a less successful outcome.  I will carry these lessons with me on my journey through the master’s Program and continue to learn. Levi, D. (2017). Group dynamics for teams. Los Angeles: SAGE.

Till Next Month! Dylan