Prehistoric Boi

-Start room. The player is not intended to know where they are or when they are. This first room allows the player to explore and discover new things about the world they are in without giving it away too early.

-Second room. In the second room you need to retrieve an apple for Reggie in order to learn important information about completing the rest of the game.

-Third room. Player is faced with another minor obstacle. Without the information gained from Reggie the Brontosaurus, the player might be confused on how to sneak past the dinosaur in the grass. Just in case, a sprite is located at the beginning of the room to ensure that the player is not confused.

-Fourth room. The first room with multiple exits and re-entries. The player is greeted by a sprite that tells you to speak with the Spinosaurus hiding in the grass. Spino then tells you to beware of the T-Rex he had seen in the area moments ago.

-T-Rex room. Upon entering this room the player is forced to turn around in order to escape the danger.

-Sixth room. This is where the game concludes. The player must retrieve all 3 fish for the raptor in order to obtain the final piece of information. This leads to the ending of the game.

McCloud’s concepts of abstraction apply directly to any project created in Bitsy due to its minimalistic pixelated nature. “When pictures are more abstracted from “reality,” they require greater levels of perception, more like words” (McCloud 49). What this means for a Bitsy game is that in order for your audience to perceive your creative vision in the same way you do, other aspects are required. Words and interactions between characters are what bring this story to life in the absence of detailed imagery.

The transitions described in McClouds Understanding Comics cover almost all of the possible transitions between parts of a story or even between 2 frames. However, in my Bitsy game most transitions are subject to subject because these transitions between characters take place within the scene/room. “Note the degree of reader involvement necessary to render these transitions meaningful” (McCloud 71). All of the interactions that take place within this Bitsy game are initiated by the player, ensuring that all interaction with the environment comes directly from the players inputs.

McClouds concepts of time-frames are unique because he believes that it is ordinary to perceive one scene or image taking place at the exact same time. “Perhaps we’ve been too conditioned by photography to perceive single images as single moments. After all, it does take an eye time to move across scenes in real life!” (McCloud 97). While the time frame of this Bitsy game is not what gives the game flow, I believe it is important to consider the time-frame between each room to be somewhat significant.