NARRATIVE
DESIGN
RUBBER
Rubber / Holy Cab is an upcoming project that would be released on june 2023. It's a Crazy-taxi like game with little narrative quests for each client of the city. The game production started in september 2022 and is covered by 8 people (including me). I'm in charge of the Lore and the scripts of all the missions that are in game. As it is an arcade game, most of the narrative design must be dispatched in both visual and audio forms. Each client has its own personality and it must be felt in the gameplay too, that is why, each mission is completely different from the other. The main difficulty was to cut Lore parts for gameplay changes that came out during production. However, I managed to sort out every distincted narrative parts to bring them little by little to the player through the environment and the offbeat demands of the robotic clients.
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ARCOPA
Arcopa is a space horror game developed in 4 months with a team of 5 people (including me). The experience of the game is supposed to be intense and governed by a correlated gameplay system where the players explore the strange Arcopa planet and must interact with its environment to solve puzzles.
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I designed the main plot of the game, and I had support from Gianni Serene and Rose Valety to complete the Lore of the game through differents forms available either at the very beginning of the game or later with audio records and defective probes that contain information for the player to read within its HUD.
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It became obvious for me to be organized in order to propose this experience in both french and english. Then, I made this sheet because for me, it was the better way to achieve this task where I had to write and translation each possible sentence of the player at any time, or following a linear progression through 3 levels. Furthermore, it helped me a lot when I had to code a localization data table system that works with key words and key times, and later on to get the team informed of our recording sessions. Especially, to know exactly which sentence was yet recorded / integrated.
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LA BÊTE DU GEVAUDAN
For my mobile game La Bête Du Gévaudan, the challenge was to make a serious game with historical content. I made a lot of researches, especially in the BNF website to find accurate and authentical content from the XVIIIe century. It was important for us to find techniques to bring this content little by little to the player throughout the exploration of the Gevaudan forest, because it was very dense and could be easily too much historical. I had to play with the mystery about this true unsolved legend and with the environment to bring to the player a constant but free-minded experience.
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GARDIENNE DES PAGES
Back to my Master of Arts, I wrote this musical theater play to theorize my own essay about translation stakes in stage, espacially from- vocal language to sign language. It was important for me to bring this aspect of music translation, because most of the time, only lyrics were translated and all the instruments melodic parts were dumped. I enjoyed writing this theater play that brings pop culture, historical content and legends, throughout a parallel plot. I wanted to demonstrate how much sign language can be in the center of a musical play, and how great it works in synergy with a vocal language, especially when both languages are intertwined. Each character was played by two actors : a deaf one and a hearing one. This way, I could settle a two-phase plot : a rational daylight part, where deaf actors are in the center of the stage, and the hearing ones are left aside, to embody the position of language interpreters ; then a dreamy night part where all actors are on stage next to its language partner, speaking/signing to the other language partner, in order to intertwine languages as it should be in real life.