Ethan Kennerly

... (in theory).

In Sande Chen's interesting article, there are passing references to Stephen Dinehart applying Block's visual intensity graph to Company of Heroes: Opposing Fronts and Jenova Chen applying Block's emotional intensity graph at thatgamecompany. Examples of cinematography are mentioned from Star Trek: Armada, Assassin's Creed, and Prince of Persia: Sands of Time.

This is your Block on games. For USC alumni, this lineage of graphing intensity and correlating graphic design to story intensity stems from Bruce Block. Deeper than a passing reference, anyone to suggest: This is your game on Block?

I read the interesting examples of cinematography (which I'd also like to see screenshots of). On page 2, the article whets my appetite for holistic user experience design: Brian Hawkins cleverly crafts a literal cliffhanger when a user barely jumps over a chasm. As a game designer who holistically designs story, simulation, user interface and look and feel, I'd like to read about an example of graphing gameplay intensity. The article goes into a little more depth on symphonizing look and feel and story. As we know, games (unlike movies) also require simulation and user interface. So a holistic approach must integrate the abstract rules of play and the human-artifact interaction. Hawkins' jump is one holistic example. Can you suggest a second videogame example that symphonizes the emotional arc of all the channels of game design: simulation, story, user interface, and look and feel?