• Abstract and Figures
• Public Full-text

Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2018 Collaborative Storytelling With Different Artistic Mediums Andrew Martin Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Theatre and Performance Studies Commons Recommended Citation Martin, Andrew, "Collaborative Storytelling With Different Artistic Mediums" (2018). Honors Theses. 639. https://scholarlycommons.obu.edu/honors_theses/639 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. SENIOR THESIS APPROVAL This Honors thesis entitled "Collaborative Storytelling With Different Artistic Mediums" written by Andrew Martin and submitted in partial fulfillment of the requirements for completion of the Carl Goodson Honors Program meets the criteria for acceptance and has been approved by the undersigned readers. Eric Phillips, the i director Drew Hampt~n second reader Dr. Dou_l Sonheim, third reader Dr. Barbara Pemberton, Honors Program director May 8, 2018 Introduction: I play a card game called Magic: The Gathering. The tasks of the art director of the cards and the creative process they utilize is fascinating to me. Through researching my favorite card game and through the creation and design of Painting the Roses Red, a theatre production at Ouachita Baptist University that took place in February of 2018. I have found several similarities between the art direction of Magic and the direction of Painting the Roses Red. In the following, I will compare the two artistic mediums, and describe my design process for the Cheshire Cat puppet for Painting the Roses Red. Thesis Statement: I will examine and compare two artistic mediums while engaging in my own creative process through a student-devised project. 1 Table of Contents I. A Brief History of Magic: The Gathering II. Timeline of Storytelling in Magic A. Theme Driven B. Mechanic Driven C. Character Driven D. Story Driven Ill. The Creativity and Artistic Direction of Magic: The Gathering A. Proposal/Initial Inspiration B. Choosing the Designers C. World-building IV. The Creativity and Artistic Direction of Painting the Roses Red A. Proposal/Initial Inspiration B. Choosing the Designers C. World-building 1. My Medium V. Collaborative Efforts During Painting the Roses Red VI. Followup and Conclusion VII. References 2 I. A Brief History of Magic: The Gathering Magic: The Gathering is a trading card game published by Wizards of the Coast (Wizards). The premise of the story of Magic is that countless possible worlds (planes) exist in the Multiverse, but only unique beings known as Planeswalkers are capable of traversing the Multiverse. This concept is what allows Wizards to continue moving to new planes and releasing new sets and cards, while having the ability to keep Planeswalkers interwoven throughout the history of the planes. When playing the game, players act as Planeswalkers. While Magic revolves around a fantasy world, it has its roots in reality. In 1991, Wizards of the Coast was in the process of printing roleplaying games and operated out of Peter Adkison's basement. While Adkison was the owner and CEO of Wizards, he was approached by Dr. Richard Garfield, a doctoral candidate in combinatorial mathematics. Garfield had a board game design to submit to Wizards known as "RoboRally". Adkison liked RoboRally, but felt as though Wizards at the time didn't possess the resources or technical know-how to produce a board game. Instead, he asked Garfield to come up with a simple game that could be played in minutes. This resulted in Garfield creating the ever-expanding card game, Magic: The Gathering. Magic debuted in 1993 at the Origins Game Fair in Dallas, TX. Magic reached its 25th anniversary in 2018, and is a game played widely around the world. People are attracted to the themes, mechanics, character, and story of Magic: the Gathering cards, and there is a singular visual element that connects all of the cards: art. And the art on the cards is only possible with the inclusion of illustrators working under an art director. 3 Magic has gone through several different printings and sets with thousands of small boxes of art on each card. Each set is commissioned by the art directors for a specific reason. Here is a very brief description of the elements of the game. Magic has five colors; white, blue, black, red, and green. These colors are represented on the cards, and each color generally corresponds to the abilities that the card has. The name of the card is listed at the top left, with the mana cost (how much a card costs to play) at the top right. In the case of Figure 1, the card costs one green mana, and one mana of any color. Cards with the card type "Land" are the main source of mana. The card type is listed below the art, and it shows what type of card it is. Older cards like this one had "Summon Creature" tor Creature types. The main card types are Creature, Enchantment, Instant, Sorcery, Artifact, and Land. Flavor text and certain abilities are listed within the text box of the card. Flavor text is the text given to cards by the creative writers to either give a short synopsis of the character, or what the card does, or in Figure 1 some cases, quotes by people. The card illustrator is listed on the bottom left while the creature's power and toughness are listed on the right. The first number is the power, which is the amount the creature deals in combat, while the second number, the toughness, is the amount of damage needed to destroy the creature. Players refer to their deck as a "library" and the discard pile as the "graveyard." 4 II. Timeline of Storytelling in Magic Magic design is the act of Wizards of the Coast creating a new expansion set for the game. This is completed by several teams within Wizards' Research and Development Department (R&D). The designers are the people at Wizards who create new cards, mechanics, and themes for Magic sets. While a great deal of effort goes into the research and development of cards, there is more that must occur for a card to reach the players. A large majority of the work falls onto what is known as an art director. Art directors are responsible for communicating ideas and mechanics of sets within each department at Wizards, commissioning artists, and sometimes conceptualizing cards themselves. But how do the art directors create stories? Where does their inspiration come from? To discover the techniques and narrative elements used by the art directors, we must look further into the history of Magic: The Gathering. History of Magic, 1993-1994. Theme Driven Cards: Brady Dommermuth, the creative director of Wizards of the Coast in 2003, responded to several questions on the storytelling of Magic in May of that year. The questions were: "How is the storyline for the Magic cards created? Do you invent the storyline, characters, and plots, and then make up cards for it? Or make up the cards and then a story for them? How exactly do these two things coincide?" The first Magic: The Gathering core sets (called "core/base sets" because they included a variety of cards not tied to a specific plane) printed were Alpha, Beta, and Limited. In each of these sets with limited printings, there were no specific characters denoted on the cards, no story, and no unified setting. Cards were created using what is 5 known as "top~down design." In top-down design, the concept or theme of the set comes first. As a theatre arts major myself having delved into playwrighting, attempting to develop a theme with ideas of flavor and theme can only get you so far, before you run out of material to take inspiration from. It is important that when representing a fantasy world on theme-driven cards that Wizards identifies their goal for the theme. The writers who created the early Magic sets had free reign to create a story however they could. The writers for the Antiquities set wrote small portions within the flavor text of the Brothers' War (a major war within Magic's storyline) that were incomplete. This was their intended goal, because Wizards wanted to give the player a chance to form their own stories based around the art on the cards. The Legends set (1994) had no story or setting overall, but its creators attempted to have each Legends card tell its own little story. On the other hand, The Dark set (1994) was artist driven. It had no story, no setting, and no characters. There was only a loose common theme, which could practically just be defined as ... well, darkness (See Figure 2 and Figure 3). All non-bnsic lands are now basic mounraim. Htm~y lighr jlDodtd acro.u th4 /Qrul#ape, ~/otJking ~r.ytlring in d"' erimst~n. Figure 2 Figure 3 6 History of Magic, 1994·1997. Mechanic Driven Cards Mechanics, in Magic terms, are what defines the function of cards. With more cards being created every year, Wizards realized that different types of mechanics needed to be present on cards in order to provide more interesting gameplay. With Fallen Empires, Wizards assigned the R&D Narrative team (also known as Creative) to create a richer background for sets; these attempts were "card-centric." The idea was to create only enough story to provide cool, evocative names and flavor text.

Load more

  38

Copy Link