Maxime Delansay
Narrative & Game Design
Skills put into practice :
My approach.
1.)
First of all, we had to deal with the many constraints imposed by this project. The most important thing here was to preserve the Warcraft III universe, developed by Blizzard and published in 2002. So I began by analyzing the game's universe and mechanics, in order to make the sequel as coherent as possible.
If the game is R.T.S. in style, I was obliged not to use any buildings or touch any of the game's statistics in terms of game design.
2.)
Secondly, I developed techniques to integrate the sequel's story into the universe as effectively as possible: firstly, I isolated the location in which it takes place from the lands already explored in the license.
This allowed me to be totally free with the space-time context, while maintaining coherence with the pre-existing universe.
3.)
Next, I had to integrate elements of the pre-existing universe into the narrative. In this case, I worked on the hero of Dame Vashj, the Naga heroine - the people of the sea over whom Azshara reigns unchallenged.
I decided to create a map on islands for two reasons: the Naga people attack the coastlines and, above all, islands are also an excellent way of cutting off the rest of the world, and therefore to justify through the narrative the lack of information the characters might have about the world, or even a parallel temporality.
4.)
The secondary quest was inspired by Shakespeare's famous 16th-century play Romeo and Juliet, in a parodic retelling. The characters are Semeo and Sealiette.
5.)
After writing the text, designing the map and decorating the space so that it became an integral part of the narrative, I moved on to staging the scene by creating cinematics like the one above, using the tools provided by the editor for this purpose.
Quest dialogues
Here you'll find the dialogues designed for the sequel.
