A Demonstration of the Porous Multiverse: A Short

Example of the Open Agglomerate Narrative Setting

by

Joel D. Benedict

University of Advancing Technology

ABSTRACT

This project demonstrates an innovative narrative setting that is unique from

previous settings and is valuable to experts—the porous multiverse. While narratives

have enabled individual characters to travel between alternate universes, none have given

all characters of the entire story-world the ability to go to any setting. The idea is proven

viable by a plan for an online series of demonstration shorts. The SIP structure will

organize in an emergent management model, with executive leaders and assistant

contributors.

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TABLE OF CONTENTS

Table of contents........................................................................................................................................3

About the Innovation.................................................................................................................................4

Innovation......................................................................................................................................................4

Today’s Situation...........................................................................................................................................5

Innovation Timeline......................................................................................................................................6

Innovation Inquiry.........................................................................................................................................8

Review of Related Materials......................................................................................................................9

Learning Process......................................................................................................................................23

Results......................................................................................................................................................26

References................................................................................................................................................30

Appendix A. Timelines............................................................................................................................37

Appendix B. Pre-Production Work..........................................................................................................40

Appendix C. Concept Art.........................................................................................................................43

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ABOUT THE INNOVATION

Innovation

This senior innovation brief plans the invention of a new fictional story setting: the

porous multiverse. A multiverse is a set of universes that originate from common traits. The

current story models feature closed multiverses traversable by a limited set of lead characters.

Porous multiverses are open to travel by any lead or non-lead characters without a plot

explanation for each trip. The porous multiverse differs from current multiversal story settings by

virtue of decentralization.

The goal of the invention is to support the final story with a series of shorts developed by

a diverse group of content creators. To support the invention of a new story device, a short film

series will demonstrate the story possibilities offered by universal freedom. The project will fully

develop a treatment, screenplay, storyboard, animatic, and finished short movie series. Due to the

high concept idea and explanations of the transportation technology, the genre of the shorts is

science fiction.

The development and staff structure of the project will demonstrate the creative

possibilities of a porous multiverse. To develop the goal of a finished short series, experts from

diverse fields in the arts and sciences will work together in segmented departments. To help lead

developers in simple tasks and the generation of new and diverse ideas, the project will be open

to temporary volunteers in the style of a moderated forum. Ideas from the guest artists will be

included in the project at the supervisory discretion of long-term lead developers.

With a clear description of the proposal, goals, and structure of the innovation, a

comparative analysis of the current state of multiversal stories can begin.

Today’s Situation

The closed multiverse story device is currently used in science fiction and fantasy to

expand the central universe of the lead characters. Porous multiverse fiction differs from

contemporary fiction in flexibility of travel, decentralization of embarkation, and freedom of

movement. Everything can go anywhere, anytime without restraint. The porous multiverse

allows travel between alternate realities and past and future times with no central or “prime”

universe. Current comics feature an unrestricted universe and permeability between multiple

universes. The porous multiverse differs from the current multiverse concept by virtue of

decentralization. A central nexus or transit station is seen in contemporary fiction, but omni-

dimensional, freely available travel between dimensions is not.

The structure of the project is a moderated supervisory system. The traditional movie

studio model is hierarchical, with departments controlled by successively fewer and more

powerful leaders. This project is led by expert developers that do not have direct control over the

community support base of amateur contributors. Contributions will be included or omitted

based on lead approval, like the online forum moderation model.

The style of this project differs from contemporary series. The current independent

productions of short animated series are comedic in genre. Dramatic science fiction serials are

confined to subscription-based cable networks. This project differs from both network and online

serials—it is both a dramatic science fiction series and freely available user-created content.

Innovation Timeline

This section documents the development of the project in linear order and offers

commentary on the speed and direction of the plan. SIP I spent two weeks in project concept

creation, two weeks in literary and practical applicability research, two weeks into research and

choice of production models, and three weeks in refinement of the basic ideas, with overlap

between the efforts (Appendix A. Timelines 1). The result was a complete original concept ready

for development into a proposal for potential application and a plan for future development of

the project into a series of online animated short films for demonstration of the concept. to a

single one-act comic in SIP III.

SIP II moved the project from a concept with support in practical application to a finished

presentation of the potential application of the porous multiverse setting in fiction (Appendix A.

Timelines 2). SIP II spent the first two weeks in search of an appropriate audience and three

weeks in illustration and condensation of the concept into a public presentation.

SIP III developed a story to give a complete example of application of the concept. One

week was spent in music selection, one week in revising the SIB references, goals, and title; one

week in documentation of the project; and four weeks went to story, script, environment visual

reference research, and character background, profile, and visual reference gathering and concept

formulation (Appendix A. Timelines 3). SIP III completed a transition from a potential concept

setting to a detailed concept application ready for further pre-production by a crew of creators.

SIP III moved the goal from a series of short films developed by a decentralized supervisory

system of multiple leaders into a single one-act comic developed by a single creator. The original

main goal of demonstrating the porous multiverse concept by an example story remained from

SIP I to SIP III.

The plan for SIP IV is to begin production on an animatic short of the first act of the

script. The first week will move the project from concept to rough storyboards. The second week

will bring in the first draft of audio narration. The third week will refine storyboards. The fourth

week will bring in color. The fifth week will be a refinement of the previous weeks. A portfolio is

a requirement of SIP IV, so it will be worked on throughout the course.

Innovation Inquiry

To accomplish the goal of a new fictional story setting, this project will develop an online

series of short science fiction movies based on the porous multiverse. Research will cover the

requirements of development and completion. Inquiries will continue until completion of the last

PRO course in a hybrid model of incremental development.

Interviews with experts in the field of animation, literature, games, and television will be

conducted by a small group of hosts to give personal examples and objectives to project leaders.

Experts from professional employment fields as well as independent online content producers

will be involved short term in the project as consultants. Traditional industry successes will be

examined for emulation by the project and to avoid simple beginner errors.

Recruitment methods will be researched based on projects similar to the short movies as

well as unconventional sources, like independent game developers. Feasibility will be researched

by feedback from social media hubs. Ways to measure popularity and correspondent demand will

be discovered through traditional library database research. With data measures of interest,

recruitment interviews will be conducted based on performance and level of potential

involvement.

REVIEW OF RELATED MATERIALS

The review argues four points related to the SIP: communication of real world ideas

through experiential narratives has practical application, narratives produce intangible practical

resources, organization of production of the SIP is feasible, and non-fiction multiverse theories

are useful resources for creators. The first section argues that the proposed narrative has practical

application.

The first section of this essay argues that narratives have practical application for real

world industries. This review will argue that narrative is a central message delivered in the

context of a story-world told with story logic that enhances perspective by use internal fictional

frames described with general schematic properties. This section will describe the five elements

of narrative as applicable to real world innovation: the basic definition of narrative, the explicit

environment of narrative, the overall schemas that define narrative elements, the interpretive

discourse models of narrative, and the interpretation of external real world issues told by the

story logic of a narrative.

Narrative includes both fictional and non-fictional events because the most basic

definition of narrative as a medium is “a form of communication which presents a sequence of

events caused and experienced by characters” (Jahn, 2005). The “form of communication” can

be oratory, the written word, or audio-visual presentation used inside and outside of fiction to

relate historical markers lived by one set of fictional or non-fictional people to another set.

Narrative is separated from documentary reports by experientiality, or central message emulated

via a story: “narrative is a perceptual activity that organizes data into a special pattern which

represents and explains experience” (Jahn). Environment is communicated better through

narrative than through documentary reports due to the experientiality of narrative environments.

Narrative content can be divided into sub spaces to define explicit, literal environmental

embeddedness.

Environmental embeddedness is the context that frames the story in terms of time, place,

and environment. The specific descriptions of embedded environments are what makes narrative

a form of communication suitable for conveyance of real world ideas in a fictional setting. The

three divisions of literal narrative environmental embeddedness are literary space, story space,

and discourse space. Literary space is “the environment which situates objects and characters;

more specifically, the environment in which characters move or live in” (Jahn). Literary space is

the entire setting of an environment beyond the story told in a single episode or book. Story

space is a finite point within the relative chronology of a narrative where actions take place.

Discourse space is based on physical location, and varies with the descriptions of the narrator.

The three contextual frames are a foundation of literal, direct context for abstract, indirect

context. All narratives contain environments to place a story in context, whether the stories are

fictional or non-fictional. Environments describe what a narrative contains, while schemas define

what the properties of individual content elements.

Schemas define the properties of story elements: “broad, abstract structures that give

general conditions for the object in question. We have schemas for genres, for characters, for

imagery, for dialogue, and so on” (Hogan, 2003, p. 71). Every element of a narrative is defined

by the value held by a correspondent abstract structure. Environment, discourse models, and

story logic all have a schema to define properties. Narrators create schemas from multiple

prototypes and other works: “There are several ways in which authors may specify schemas. One

is through the combination of elements from other works” (Hogan, p. 72). Narratives that

overlap genres result in more specific genres. Specification of schema will happen in any

narrative, regardless of genre or reality. Schemas define elements of a topic, as any practical

technical blueprint does. Narratives of real events have a schematic genre, as well as other

schematic elements such as discourse.

In contrast to discourse space that describes setting in a narrative, discourse models are

an abstract discussion and interpretation of literal concepts framed indirectly by the story. As

practical inventions are aware of design complications, flaws, or implications for further

development, so too do discourse models interpret the environment, schemas, and story logic of

a narrative. Discourse models provide contextual cues by indirect explanations of the events of

the story: “Discourse models can be defined as emergent, dynamic interpretive frames that

interlocutors collaboratively construct in order to make sense of an ongoing stretch of talk”

(Herman, p. 19). The “emergent, dynamic interpretive frames” translate recollection or dialogue

from absolute occurrences into the relative point of view of the author or character. Discourse

models give interpretation within the narrative. Story logic, however, gives interpretation of

extra-narrative, real world issues via the narrative.

Story logic gives perspective to real world events. Story logic is an the logical knowledge

an author has of the real world transferred to story format: “Story logic, in this sense, is the logic

by virtue of which people (including writers) know when, how, and why to use stories to enable

themselves and others to find their way in the world” (Herman, p. 24). Story logic means that

stories are consistent with internally logical events and are logical arguments for real world

issues: “In using the phrase story logic in the first part, I mean to suggest that stories both have a

logic and are a logic in their own right” (Herman, p. 22). “Are a logic in their own right” means

narratives form logical arguments for real world views, expressed by the internal logic of story

schemas. The interpretations of story logic give perspective to real world events not offered by

documentary reports. The practical equivalent is an application assessment of a technical

invention. Story logic places real world logic into story, discourse gives in-narrative

interpretation, schemas define individual story objects, and contextual frames set literal context.

In summary of the first section, narrative consists of real world ideas translated to fiction,

framed internally and specifically described by schemas. The passage of real world ideas through

fiction and back into reality are addressed by the next section.

This proposal proves in the first section of related materials that real world ideas

communicated through experiential narratives have practical application like any technological

invention. In the second section, the proposal proves the practical demand for a creative story

setting. This project will create a series of short movies to put the setting innovation into

practice. The specific narrative format demonstrated by this project is the animated short.

The medium of movies is chosen for this project because of the story logic and discourse

not possible in other narrative media. Films and the animated cartoon in particular distill

schemas to basic prototypes. Animation “is a metaphorical and metonymic art at one and the

same time” (Calvino, p. 80). Film, literature, and games are narratives that use story logic to

convey a message. The abstract narratives provide imaginative perspectives not possible in real

life. Stories therefore have real world application.

While film production does not contribute practical goods to the world of industry, films

produce intangible resources. The legislature of Trinidad and Tobago funded a government film

company because of the intangible resources: “The film industry is of national importance on

four levels, social, cultural, political, and economic” (Trinidad, 2005). The intangible resources

were an investment in the development of the country. The government proposal outlined the

specific advantages brought by the movie industry in the four areas of growth: “social:

communicating ideas, information and ideology; cultural: preserving and promoting cultural

traditions; political: providing the forum for debate and discussion as well as information to the

public; economic: the industry generates both revenue and employment: $172.5 billion in 1997

worldwide” (Trinidad). The proposed innovation project will focus on the social arena of movie

production, to communicate the idea of a new story setting. The movie industry distributes ideas

faster than practical goods industries, so the project will distribute the idea by the media of

movies. While movies do not produce practical innovations, movies do produce intangible

innovations, like the story idea distributed by this project. Distribution of the idea of this project

will be faster than distribution of practical innovations.

This project will spread creative competency innovations throughout the industry faster

than practical inventions spread. The film industry innovates faster than practical goods

producers due to new real world technologies: “For the film industry, the changing technological

environment requires production houses to constantly re-invent themselves in order to survive

and prosper” (Wong, 2007). Film and animation make use of technology, but do not develop new

practical assets like other industries. Instead, film producers apply technological innovations to

the movie context: “the challenge is how to adapt and extend thinking about innovation systems

to the creative industries like the film and animation industry and to extend technological

competencies to innovative creative competencies” (Wong). This project will collect the

“technological competencies” of contributors to apply them to the creative context of the project.

The distribution of the story setting will give creators a foundation to develop other creative

competencies beyond that of one new story setting.

This project advances creative competencies by application and distribution of those

competent creators to the refinement of the innovation in story setting. The most important

element of film production remains the creators, not new technology: “Despite any emphasis that

is placed on the impact of new technologies and technological convergence, it is peoples’

creative imagination and craft skills that are the ‘core competence’ of a thriving film sector”

(Wong). Technology can be used to enhance the creative abilities of contributors. However, the

main goal of this project is apply the creative abilities of contributors to the new story setting.

While the story setting innovation is not a technological invention, this project will use modern

technology and creative contributors to demonstrate the effectiveness of the story innovation.

The innovation of the new story setting innovation of a porous multiverse is viable due to

collaboration of creators. The film medium chosen by this innovation project is ideal for the

dissemination of the idea among creators due to a level of collaboration not seen in practical

goods industries: “As an art form, filmmaking is also a highly collaborative effort involving a

combination of many diverse creative and specialized skills” (Wong). The diversity and

specialization of technical and creative contributors will spread the idea throughout industries

outside of the film industry. The idea is viable due to the diversity of collaborative creators.

The second section of this proposal proves that movies are unique narratives that produce

practical, intangible resources. The second section also proves this project will advance creative

competencies and distribute a viable innovation in creativity through collaboration. The third

section shows how contributors will organize to demonstrate the innovation of the porous

multiverse.

This third section describes the organization of the project in three topics: the

development plan, the developer structure, and individual contributor selection. The project in

pre-production is diverse in ideas with phases that overlap, but after pre-production is finalized

in ideas with sequential phases. First, the project producer and contributor community that form

the developer structure will first select a core group of executive leaders. Second, executive

leaders will complete the hierarchical development structure with selection of assistant

contributors. The model of development schedules goals and departmental activity.

The developmental model chosen for this project is a hybrid iterative and linear model,

where sequential phases overlap. Web designers Lynch & Horton describe the hybrid model in

practice: “many design iterations are encouraged early in the process but are strongly

discouraged later in the development and testing phases” (2009, Ch. 2, p. 6). Early in movie pre-

production, diverse creative ideas frequently change. Once production begins, ideas are

developed into a final product. The model of this project develops by emergent management of

assistant contributors by lead executives.

The project consists of lead and assistant contributors in an emergent management model.

In pre-production, goals are defined by leads with the input of assistants. After pre-production,

assistants will decide how to meet the previously defined goals. Leaders will grant final approval

to the decisions of decentralized assistants. The advantage of emergent management is dynamic

innovation: “Enterprise architects must decentralize decision making to enable innovation [...] In

decentralized organizations innovation is dynamic and change is organic” (Burke, 2008, Table 1).

The “decentralized decision making” to assistants chosen based on their abilities still allows the

crew meet the previously defined goals and create a vision in the best way they see fit. Valve

Corporation is an example of central leaders with assistant contributors that create finished

projects. Valve provides the original project resources and goals, which are then developed by

community contributors. For example, game map source files from Team Fortress 2 were

released so that map developers could independently create new maps based on the source:

“When we released Team Fortress 2, we also released the production tools that we made our

maps with” (Valve, 19 June 2008). Valve leaders then improve upon assistant contributor maps

and grant final approval for inclusion of the maps in product updates: “After seeing the large

number of these maps, and the high quality work contained within them, we decided it’d be great

to get some of them out in an update” (Valve). The management model of this project will act in

the same way as Valve contributors—as independent assistant creators who develop elements

approved by project leaders.

The traditional studio industry method of recruitment begins from the top down, with

lead department positions chosen first by an executive producer. Writer-producer-director

Gregory Goodell says the hierarchical studio model begins with a script or idea proposal pitched

by a producer or director to a studio development committee: “the fundamental decisions that

define what the movie will become, including the direction and tone of the story and screenplay,

and the selection of the screenwriter, cast, and director, will be subject to committee approval at

the studio” (1998, p. 7). The core group of lead developers is the screenplay writer, the producer,

and the director. In a studio, crew is allocated by a studio committee. The crew structure of

independently funded films is hierarchical, like studios. This project will select the core group in

the same way studio the producer structure leads crew hierarchies.

Once an independent film producer has secured finances for production of a story, the

producer selects core lead developers—the screenplay writer, the director, the unit production

manager (UPM), and first assistant director (first AD). Goodell says the similar roles of logistics

and creative management are what necessitate the early hire of both: “The production manager's

work is closely coupled with that of the first assistant director (first AD), and both should be

hired as early as possible” (1998, p. 104). The UPM will complete the production hierarchy with

the selection of department leads. The production company structure of online shorts is not

hierarchical, but individual allocation based on organizational demands and previous

performance.

The hire model of online shorts is based on proximity and a preexistent base of friends.

Matt and Mike Chapman, producers of the online animated series Homestarrunner (Chapman,

2007), are the only full-time content creators, in addition to their immediate family. “Our sister

does all of the business,” says Matt Chapman, “She runs the online store, um, and that's, that's it.

Four of us, basically...So not much on our staff” (2007). Recruitment was not needed, as the

small four-member, family exclusive company is self-sustained and independent of additional

assistants. Rooster Teeth Productions (RT) is an online short series made of a group composed of

coworkers, acquaintances, and two industry professionals. Online short production organizations

are similar in size and contributor pool to RT and to the Chapman's. Because the structure of

online short producers selects fewer contributors than studio heirarchies select, online short

producers hire based on familiarity and contributor experience prior to pre-production. This

project will use the online short method of well-known contributor selection for leaders, and the

studio hierarchy model to approve creations completed by assistant contributors.

In summary of section three, this project will develop iteratively in pre-production, but

linearly afterwards. The overall developer structure is made of executive leaders and creative

assistants. The project will select individual leaders in an hierarchical independent studio model,

and will select assistant contributors based on peer performance evaluation and reputation. The

organization schema proves the viability of the SIP. The next section argues viability of real

world multiverse theories in their application to the SIP.

This section gives a background to the origin and usage of the multiverse in science, sci-

fi, and fantasy fiction. The first element argues that regardless of the actual existence of the

multiverse in reality, the multiverse theory has enough scientific research with which to create

complex and interesting stories.

Physicists began development of the ideas of universes beyond the observable universe

prior to the deployment of the ideas into fiction, but Michael Moorecock was the first to apply

the scientific theories to his science fiction because it gave him the ability to generate an endless

number of new ideas, “[…] I was the first person […] to start giving names and imagery to these

ideas […] an optimistic model of the universe, allowing a sense of constant renewal” (Boing

Boing, 2009).

Scientists continue to develop variant ways to describe the concept and structure of the

multiverse. Multiverse concepts include separation by planes of existence, by space, and by time.

The space theory of the multiverse concept used in fiction is similar to the pattern of a book,

where universes are separated by planes: “The Multiverse could contain an infinite number of

universes separated in different dimensions, like pages in an infinitely thick book, with each page

representing a universe” (Gribbin, 2010). If a multiverse exists which holds universes within an

abstract, non-linear encyclopedia, then authors have justification in moving a page to another

page within the encyclopedia of literature. Corroboration of discreet universes in separate planes

of existence comes from physicist Brian Greene, “every outcome would happen and every

outcome would need to be parked in its own universe” (Miller, 2011). This means that the

complete set of possibilities would be held in an encyclopedia with an infinite number of pages.

The complete set of outcomes can branch into another set of outcomes, leading to an infinite

number of pages: “you could have a variety of different universes coming from the different

branes [pages that hold universes], and on each of those branes there could be a variety of

different universes coming from the infinite expanse” (Miller, 2011). This means that similar

pages of multiple universes can coexist with other pages in the “infinite expanse” without

reduction of the number of universes. The time and space theories show why the universes are

able to coexist with more than one universe without replacement of the other universes.

The structure of the multiverse gives room for similar instances to exist because space is

infinite: “The Multiverse may be infinite in space, so that regions of space with different physical

laws are separated by infinite distances” (Gribbin, 2010). These “different physical laws” mean

that any idea can find a basis in the physics of at least one universe, which enables authors to

choose how they want things to work, rather than a requirement of advanced physics knowledge.

The multiverse theories include separation by time: “The Multiverse could be infinite in time, so

that different universes with different physical laws are strung out […] like beads on a wire”

(Gribbin, 2010). If a bead of universes can contact the bead of universes by movement of the

wire of time, then authors can connect old universes and split new universes from the merger.

The same connection of universes allows new splits between the fused universes to

happen, as fantasy author Terry Pratchett mentions: “In Jingo, there was [...] quantum confusion

[…] Vimes picks up his personal organizer just at the moment when the Universe is splitting into

two” (Pratchett) The universe beads were connected at this point, which causes new outcomes in

the form of new universe beads, thus causing new wire timelines. One of the new outcomes is

that a single crossover between the contacted universes potentially result in the timeline of the

new universe continually benefiting from the original merger, like how the character of Pratchett

is aware of the divergences of the other universe: “[Vimes] gets a personal organizer which is

effectively telling him what would have been happening in his life had he not made a particular

decision” (White, 2000). The result is that connections of timelines allow the universes from new

timelines to experience a greater degree of variety than prior to the merger.

The variety is used by authors to create interesting new scenarios, like that of Vimes’

personal organizer, as well as new characters and settings, like Pratchett’s city of Ankh-Morpork:

“It's a real melting pot -- that is, it bubbles all the time and strange things float to the surface”

(Pratchett,2003). The “melting pot” with things outside of what has already been seen is

demonstrative of each of the theories in this element, which shows that the connected time theory

works with the infinite space theory and parallel dimension theory to provide more resources for

authors to create new stories from.

The synthesis of new components from combined components by authors varies in the

amount they take from reality. If fiction differs in any way at all from reality, by even a single

element of reality, then it moves from non-fiction to fictional status, just as differences between

universes define their separation from each other, as Pratchett applied to the Long Earth series:

"It was simply based on the quantum theory idea, that the earth is one of an immeasurable

number of earths, each one differing by one electron” (Flood, 2010). Similarities between

universes “by one electron” show that multiverse fiction can be as different or as similar to

reality as the author establishes. Authors can choose which elements of reality they want to

include because they start with the blank slate they can draw their own visions upon, like

Moorcock and his New Wave peers had written about a real world issue brought into a new

environment: “Early stories of mine tended to be about people creating reality more or less

whole. What we [the New Wave] saw [in computers] was variety, proliferation, possibility” (CM,

2004). The “variety” meant that they could depart as far from reality as they wanted while still

providing a universe similar to their own. Similarity is based on author preference for the degree

of reality they choose to include.

Similarity is used to show that there are infinite possibilities and that the multiverse is

infinite, as Brandon Sanderson shows in the Wheel of Time series: “Mythology in the Wheel of

Time universe indicates that all worlds are part of a potential multiverse, with infinite

possibilities existing as shadows of one another” (Sanderson, 2010). The “shadows of one

another” are similar universes, but the multiverse is shown as infinite and without center by the

bi-directional similarities. This element shows that the porous multiverse is defined by what the

author determines will work for the story, rather than what is necessarily real.

This section has shown the basis of multiverse fiction in science, the theories of time,

space, and dimensions in theory, the adoption by authors in fiction, and the lack of need for

realism and similar universes. This project uses these components to establish a narrative with

similarity to reality, but as an indication of an infinite multiverse able to be traveled through

time, space, and dimension based on scientific theory and the utilization of theory by established

fiction authors.

In summary, this review argues four points: real world ideas translated to narrative have

application to the real world; the intangible resources narratives produce are practical;

organization of the SIP narrative production is viable; and non-fiction multiverse theories are

useful resources for creators. The execution of the development structure will take place in the

learning process in the next PRO series course.

LEARNING PROCESS

PRO251O covers the topic paper and project plan. In the course, calls for papers guide

the development of a presentation for a live audience. The presentation serves as the topic paper

by description and analysis of the innovation. A revision of the abstract, outline, and goals of the

project help refine the concept.

The search for paper calls redirected the porous multiverse concept away from a

justification for real-world application and more towards an innovation in fiction. The

Dragon*Con Independent Short Film Festival (2011) was selected as the call for the project

because the theme of the convention is the sci-fi/fantasy genre, the scope is short films, and the

structural requirements of the course fit in with the live seminars called for by the convention.

The abstract that follows refines the project plan and is seen in the presentation: This

presentation introduces a new story setting called the porous multiverse. The porous multiverse

builds on the concept of parallel dimension travel by allowing anything to travel to any place and

time imaginable. I show through the shorts how the porous multiverse affects people and

environments. I use sample sci-fi short film ideas to illustrate the how the porous multiverse

leads to creative story synthesis. I recommend application of the concept for other genres and

formats. I conclude with mandates for future use of the porous multiverse in short animated sci-fi

and other diverse projects.

Iterative development drove the project forward, with each component rewritten each

week as the project grew towards a complete vision for the future of the project. The outline for

the presentation began in the second week and was continually revised up until the course final.

Peer feedback guided the project away from unclear language, misdirected goals, and

unexplained concepts and towards clear language, focused goals, and towards creative content

that enhanced the final project.

The outline drove the creation of a speech script. The speech draft showed the details of

the idea along with examples of the applied innovation for the presentation. The speech draft

clarified the idea by describing the contemporary use of multiverses, the distinction of the porous

multiverse from contemporary fiction, the effects of the innovation, the results of innovation

applied, and the future use of the innovation in other genres and formats.

Once the speech draft developed into a beta suitable for oral presentation, the speech

draft and outline fueled the creation of text-only slides for the live presentation. To create the

slides, the speech was broken up into sections according to the points of the outline. The outline

and draft helped to create the titles and individual sub-point wording of the slides. During the

slide creation, the speech, outline, and abstract were continually revised.

The next step in the creation of the presentation was selection of images that would

illustrate the concepts discussed in the presentation. Stills from film and television showed

examples of sci-fi/fantasy ideas in application. Real-world photographs showed the grounding in

reality of the concepts in fiction. Fantasy illustrations from independent artists provided concept

art for ideas that could be executed in the future by content creators. During selection of all of

the illustrations, speaker notes were given final peer review, followed by a rough draft of the oral

presentation performed for further peer review.

After the illustrations were selected, a final audio recording of the speaker notes ensured

the timing of the speech would remain within fifteen minutes. Adjustments to wording, examples

used, and speaking style, along with corrections to the style of the slides were finalized. Analysis

and critique throughout the course of cohort-constructed presentations provided models of what

to follow and what to avoid in the preparation of the presentation.

The presentation selected final illustrations, slide wording, examples, and speaker notes.

The final presentation is an oral presentation with text descriptions and illustrations. The final

presentation summarized the porous multiverse as an innovation in fiction, the effects upon

fiction, and application to different genres and formats.

The purpose of the concept is to free up storytelling, and short films are a good way to

explore imaginative concepts like this. The presentation shows how the idea can be directly

applied to sci-fi shorts. The presentation covers how the porous multiverse affects genre and

format, which show how the idea is ideal for fiction writers in general. The presentation shows

how the idea is important to any story creator who wants more flexibility in the kind of stories

they tell. The presentation shows how innovative story setting helps authors construct innovative

stories from disparate elements. The presentation gives a sample of how the concept can be

applied to short films.

RESULTS

At the end of week 5 of SIP II, the SIB was updated with a textual summary of the

presentation and the work that went into SIP II. Overall, the project went from a concept with

support in reality to a finished presentation of the potential application of the porous multiverse

setting in fiction.

In between SIP II and III, a list of authors who incorporate the porous multiverse into

their fiction was compiled, with the interview bibliographies of the authors scanned for relevant

quotes. SIP III began work on the demonstration of a project, and released a completed version

of several components of the demonstration, including a complete story synopsis, a complete

script, complete character backgrounds and profiles, and completed concept art for characters

and environments. While at times reducing the amount of project, public presentations, scrums,

and sprints exhaustively documented the development of the project.

SIP III went from a potential application to a concept for a demonstration of an

application. In week 1 of SIP III, the title of the SIB was revised to adhere to the goals of

releasing a short example of the setting (Appendix Table A.3.1). In week 1 of SIP III, annotations

were added to references to explain their role and credibility in the SIB.

From week 2 to week 5 of SIP III, the short example story and script would continually

be edited to provide a look into each aspect of multiversal travel. Visualization of the visual art

of the project started and stopped without successful completion because the story, script, and

characters did not provide the complete description of what the project needed to contain in order

to convey the possibilities of the porous multiverse. While the visuals remained incomplete as of

day 5 of week 5 of SIP III, the musical score was selected based on a simplified plot summary in

week 1. Research and editing of character backgrounds, personality profiles, visual research,

story, and script began in week 2, but would continue revision up to week 5. Documentation of

the project in a timeline parallels that of the visual execution in that it began and was abandoned

in favor of project work, but would be completed in week 5.

Week 3 continued revisions to the story, script, character backgrounds, character profiles,

and character visual concepts. Visuals were researched by scanning for historical documentary

images of local populations. Names were picked from appropriate personality and background

translations to the local language of a population. The script and story became more difficult to

write as the complexity of character interaction and story structure grew. The SIP goal seen in the

Innovation section of About the Innovation changed to match the expectations of a smaller non-

animated version of the project. An assignment on productivity hampered the production of

further development.

Week 4 continued to refine the story and script, and research character backgrounds,

profiles, and visual concepts. The characters and story were finally clear enough to create a

complete story synopsis and summarize the characters in backgrounds and profiles, even though

the visuals were not executed as of day 5 of week 5. An antonymic assignment proved

antagonistic to development.

Week 5 added timeline spreadsheets and project documentation on the entire linear

process to the SIB. A draft presentation included complete descriptions of all of the characters’

backgrounds, profiles, languages, origins, motivations, symbolisms, and roles in the plot

(Appendix B. tables). The draft presentation also included the complete story synopsis which

demonstrated the variant possibilities of the porous multiverse by the actions of archetypical

multiverse concept representatives. The script continued the refinement that began in week 2,

and was shortened to a single act from the original three, which accomplished three goals:

incorporation of representative elements of environment and diverse characters; preservation of

material for prospective sequels; and gave a focus on a central story with indication of a larger

selection of related stories. SIP III went from a potential application to a concept for a

demonstration of an application. In summary of SIP III, the project completed a transition from a

potential application to a detailed concept ready for further pre-production by a crew of creators.

The future of the project forward to SIP IV is to develop the story and visual concepts to

a fully visualized color animatic with audio. The foundations of the characters are complete

working versions, and will only change in the expression of those traits, just as any complete

comic character is known not by individual artist, author, book, movie, or game, and are instead

known by the essential personal beliefs, behaviors, and backgrounds of those characters, and can

thus be understood no matter where they appear in the multiverse of a story. The characters are

archetypical exemplars of how the multiverse itself works in fiction—all future characters that

have a connection to the multiverse will fall into these six main categories, regardless of any

changes to the expression of those stories. The archetypes developed all have a common formula

used to develop those characters: combination of disparate real world elements that possess

similar cultural traits placed in an environment that is disparate from either (Appendix C.

Tables). The archetypes vary from each other by their usage of the multiverse: the explorer seeks

to reach a target; the adventurer seeks a journey; the blender seeks to merge universes; the

splitter seeks to create homogenous universes; the lost wanderer seeks to return to a familiar

environment; and the savior hero seeks to preserve universes. The SIP story provides a

demonstration of an application that combines the unique characters into a common goal of using

the multiverse to its full extent.

In summary of the future of the project, the animatic will illustrate the concept of the

porous multiverse by symbolic characters and a story that highlights the traits of those characters

in a single act story. The characters that are featured exemplify the most important traits of the

multiverse, which is that of freedom of movement between desired destinations, on an abstract

level of personal goals and on a physical level of transportation between locations.

REFERENCES

BoingBoing.net (interviewer) & Moorcock, M. (interviewee). (19 June 2009). The readers of Boing Boing interview Michael Moorcock. San Fransisco, CA: Tachyon Publications. Retrieved 21 August, 2011 from http://tachyonpublications.blogspot.com/2009/06/readers-of-boing-boing-interview.html

Moorcock discusses his role in influencing the development of modern science fiction. He gives an account of the development of scientific ideas from their beginning in factual science to their current state in fictional literature. The quote from the source is in the brief because it needs the first use of the multiverse term in fiction as a lead-in to a discussion on the increasingly complex scientific models. Michael Moorcock is one of the most widely read and critically claimed authors of speculative science fiction and fantasy.

Burke, B. (19 June 2008). Architecting the emergent enterprise: New game, new rules. Gartner, Inc. Retrieved July 4, 2009 from Gartner database access: http://www.gartner.com/

Burke analyzes the economics and command structures of businesses organization. Burke compares different business models and presents the results of the variances. Burke separates the recommendations of the results from the definition of terms, with a logical cause and effect transition between the two. The article is in the paper because Burke explains why decentralized enterprise management results in more flexibility and innovation than other models.

Calvino, I. (1987). The uses of literature: Essays. (P. Creagh, Trans.). San Diego: Harcourt Brace Jovanovich.

Calvino spent a lifetime in the study of creative media. He wrote extensively on the social and psychological implications of fiction for most of his career, and received peer support for the scholarly works. Calvino deconstructs complex fiction down to its most basic elements and rebuilds the concepts of standardized situations and characters. Calvino then discusses the nature of the resultant media, and the implications it has for the superficial styles which bear the deeper elements of narrative. For the paper, Calvino retraces the pattern in one of the essays in regard to animation—that animation is an analogical catalyst for conveyance of perception of reality between observers and artists.

Chapman, Matt. (26 April 2007). Homestarrunner comes to the GT library. [presentation transcript]. Homestar Runner Wiki. Retrieved 15 December, 2009 from http://www.hrwiki.org/wiki/Georgia_Tech_-_26_Apr_2007

Michael and Matthew Chapman publish short animations for their website. The website was financially successful enough to serve as the primary income for the brothers and their families from 2002 to the present year of 2011. The website is independently owned and operated by the Chapman brothers and their family. The success of the site led to the development of a series of games published by Telltale Interactive. The Chapman’s projects have been featured by game and professional popular media industry reporters, which include IGN, Kotaku, NPR, The Boston Globe, the Daily Eastern News, and at least forty-seven other interviews in radio, web, and print publications, as well as public appearances at several state universities. The site which hosted the interview the paper cites is credible, reliable, and thorough in multiple products and shorts produced by the Chapman’s company. The paper uses the Chapman’s company as an example of a production studio with few employees who serve in multiple, flexible roles within the company.

Corporoate Mofo (interviewer) & Moorcock, M. (interviewee). (2004). Michael Moorcock on politics, punk, Tolkien, and everything else. Corporate Mofo. Retrieved 21 August, 2011 from http://web.archive.org/web/20070302165511/www.corporatemofo.com/stories/Moorcock3.htm

Moorcock gives a retrospective on his career, education, life experiences, and philosophic changes. This source shows his research into the scientific theories at the time of his usage of the multiverse and the process of creating a fictional setting from scratch. Michael Moorcock is one of the most widely read and critically claimed authors of speculative science fiction and fantasy.

Dragon*Con Inc. (24 July 2011). The place to be for filmmakers and film-lovers. Atlanta, GA: Dragon*Con. Retrieved 24 July 2011 from http://filmfest.dragoncon.org/

Dragon*Con is an annual pop-culture convention that features appearances by celebrities, corporate presences, and presentations from industry experts. The convention also holds a film festival at the convention, which screens independent short and feature length films and panels from producers and commentators. The project uses the source as a goal for presentation of the concept and the first screening of the short.

Flood, A. (interviewer) & Pratchett, T. (interviewee). (16 June 2010). Terry Pratchett enters parallel worlds of science fiction. London, England: Guardian News and Media. Retrieved 21 August, 2011 from http://www.guardian.co.uk/books/2010/jun/16/terry-pratchett-science-fiction-book

Pratchett discusses the development of the parallel worlds in the Long Earth series, from a concept in quantum physics to deployment in a fictional scenario. The quote from this source is used to illustrate the concept of similar universes and how it can lead to newer fictional designs. Terry Pratchett has written dozens of fantasy novels and sold millions of books. He is an expert on contemporary science fiction and fantasy, having reviewed dozens of books by others and having collaborated on joint works with other expert sci-fi/fantasy authors.

Goodell, G. (1998). Independent feature film production: A complete guide from concept through distribution. New York: St. Martin's Griffin. Retrieved 23 July, 2011 from http://bit.ly/o0C0pD

Goodell provides an exhaustive description of each step along the way of feature film production. Goodell produced commercially successful films and studied film industry techniques for decades. Goodell gives fine details into business procedures and gives an overhead view of the basic decisions. The paper uses Goodell to develop a plan for initiation of the core group of production heads for the short.

Gribbin, J. (2010). In search of the multiverse: parallel worlds, hidden dimensions, and the ultimate quest for the frontiers of reality. Hoboken, NJ: John Wiley and Sons. Retrieved 21 August, 2011 from http://bit.ly/oK8QKx

Gribbin summarizes the history and workings of cosmology theories from 1543 to 2010 for intake by laymen. It is used to outline the main theories of the multiverse concept in terms of time, space, and dimension. Gribbin “trained as an astrophysicist at Cambridge University and is currently Visiting Fellow in Astronomy at the University of Sussex,” according to the author biography of the book.

Herman, D. (2004). Story logic: Problems and possibilities of narrative. Lincoln, NE: University of Nebraska press. Retrieved 6 November, 2009 from http://bit.ly/6FvD4S

Herman provides a psychological analysis of the relations of narrative to exterior influences on the mind. Like Hogan, Herman breaks the elements of narrative into its constituent parts and analyzes the results on thought patterns. The paper uses the quotes from Herman to explain that narratives give us values judgments and tell us how to react to a situation, whereas documentary reports tell us the state of a situation with no imperative for action. The paper also tells how the structure of the story itself is an influence upon how people react to analogous non-fictional situations.

Hogan, P.C. (2003). Cognitive science, literature, and the arts. New York, NY: Taylor & Francis Books.

Hogan writes on schematic structures in narrative, that is, the recipies for stories made of individual ingredients lifted from multiple pre-existent sources. Hogan relates the relevance of narrative, not only from fiction, but from conveyance of communication, as inherently part of information reception and synthesis. The paper uses the quotes of Hogan to establish the elements of story as a ground work for knowledge in general.

Jahn, M. (2005). Narratology: A guide to the theory of narrative. Cologne, Germany: University of Cologne. Retrieved 5 November, 2009 from http://www.uni-koeln.de/~ame02/pppn.htm

Jahn covers the language and expressions that carry narratives and defines the unique stylistic elements and characteristics that seperate stories from each other. Herman gives an idea of how narratives influence thought compared with non-fictional worlds, whereas Jahn covers how stories are internally structured. The paper uses the work of Jahn because Jahn explains narrative as an activity that organizes experiences into a communicable form.

Lynch, P.J., & Horton, S. (2009). Web style guide (3rd ed.). Retrieved July 1, 2009 from http://www.webstyleguide.com

Lynch & Horton show how to build a website, from selection of the initial core team, to creation of a site with strong organizational and stylistic elements. The authors have been teachers and scholars of web design for universities for decades, and have received positive peer reviews for their research from industry organizations and from peer instructors. They have built websites themselves and can thus instruct others on ways to build websites. The Porous paper outlines the initiation of a plan to form an organization to complete the short prototype. Lynch & Horton provide a technique of plan development the project will use in creation

of the short. Lynch & Horton recommend a multitude of different designs that are focused to a few designs as the project begins to discover which designs are the best for further refinement.

Miller, T. (Interviewer) & Greene, B. (28 January, 2011). “The hidden reality” - an interview with Brian Greene. San Fransisco, CA: Hearst Communications. Retrieved 21 August, 2011 from http://www.sfgate.com/cgi-bin/blogs/tmiller/detail?entry_id=81966

Like Gribbin, Brian Greene discusses the different theories behind the structure of the multiverse, with a greater emphasis on string theory. He covers the observation, research, and prediction leading to evidence of the multiverse. The views of Greene on quantum mechanics and parallel universes provide a basis for the argument of the brief that authors should be able to construct fictional worlds from their imaginations rather than what the layman observes. Greene is a professor of physics and mathematics at Columbia University, and writer of several books on the math and physics of string theory.

Pratchett, T. (2003). Discworld travel guide. NYC, NY: HarperCollins Publishers. Retrieved 21 August, 2011 from http://terrypratchettbooks.com/discworld/

Pratchett provides a treatment summary of his Discworld series. He uses real-world comparisons to illustrate the fictional scenarios in his works, which in turn provide a critique of real-world science, events, and geography. Like the White interview, the quote from this source is used to bridge the science with the fiction, showing that groups of disparate elements from fantasy worlds can be used to create new and interesting story components. Terry Pratchett has written dozens of fantasy novels and sold millions of books. He is an expert on contemporary science fiction and fantasy, having reviewed dozens of books by others and having collaborated on joint works with other expert sci-fi/fantasy authors.

Sanderson, B. (07 April 2010). Brandon Sanderson replies to cage match challenge. Argonaut Media Network. Retrieved 21 August, 2011 from http://www.dragonmount.com/forums/blog/2/entry-303-brandon-sanderson-replies-to-cage-match-challenge/

Sanderson writes on the differences between the characters he has written and those of a similar fantasy author, George R.R. Martin. The reference provides an illustration of a world in which universes are closely similar but indicative of a non-similar set of universes. Sanderson is a fantasy author of more than a dozen novels, and is the current writer of the bestselling series the Wheel of Time.

Trinidad and Tobago industry final report. (2005). Strategic plan for the film industry of Trinidad and Tobago. Prepared for the Prime Minister’s Standing Committee on

Business Development (SCBD) by the Film Industry Team, 3 January 2005. Retrieved 28 November, 2009 from http://www.investtnt.com/

The Trinidad & Tobago film industry report is a detailed research document on the status and trajectory of the film industry, the financial interactions between the state, the industry, and other countries, and includes recommendations for the further action of the state in regards to the film industry. The report cites financial figures from their own country and other countries of income from the industry to the state, and employment figures to build a case for state support of the film industry. The report is written from the perspective of an organization interested in profits from the film industry. The state therefore is interested in examination of the costs and benefits of a product that has no tangible application. The Porous paper uses the report to build a case for the viability of fiction as an intangible resource as legitimate a research topic as any tangible product due to the advantages to society and to economics.

Valve Corporation, Inc. (8 August 2009). The Pyro update. Bellevue, WA: Valve Corporation. Retrieved 14 December, 2009 from http://www.teamfortress.com

With The Pyro Update, Valve began to integrate user-created content into the software of the company. Since the update, Valve exponentially increased the amount of content developed by the user community until new Valve-developed content was less than community-developed content. The model developed by Valve means the company retains creative control, but leaves the majority of work to the users of the end product. The Porous project will operate under a similar model of executive moderator over independent developers. The Pyro Update source reveals the start of the Valve transition plan.

White, C. (interviewer) & Pratchett, T. (interviewee). (April 2000). A conversation with Terry Pratchett. Writers Write. Retrieved 21 August, 2011 from http://www.writerswrite.com/journal/apr00/pratchett.htm

Terry Pratchett discusses his application of research into film, physics, geography, and literature into his own works. The quote from the interview transitions the basis in quantum theory into its use by authors. Terry Pratchett has written dozens of fantasy novels and sold millions of books. He is an expert on contemporary science fiction and fantasy, having reviewed dozens of books by others and having collaborated on joint works with other expert sci-fi/fantasy authors.

Wong, C., & Matthews, J.H. (2007). Challenges of new technologies on the animation and film industry: the case of Singapore. In Radnor, Zoe and Thomas, Howard and Cartwright, Susan, Eds. Proceedings 2007 Conference British Academy of Management – Management Research, Education and Business Success: Is the Future as Clear as the Past?, pages pp. 1-36, Warwick, United Kingdom.

Retrieved 28 November, 2009 from First Search database. http://eprints.qut.edu.au/

Wong & Matthews research the economic and technological changes in the film industry in Singapore in comparison with the same areas of the film industry in other countries. Like the Trinidad & Tobago report, Wong & Matthews use the financial and employment figures as part of their research. They use "closed and open-ended questions" in a series of questionnaires to find the key issues and challenges in the industry. They use a cross-case methodology with thirty-five film and animation companies to find a descriptive understanding of the context and setting of company behavior.

The paper uses Wong & Matthews for four related issues in the film and animation industry: speed of innovation, cross-exchanges of innovation, traits of creative ability, and distribution of innovation. One, the Porous paper uses Wong & Matthews to describe the constant reinvention that leads film producers to be more innovative than practical goods producers. Two, research also argues for cross-exchanges between technological and creative competencies because each can take support their own innnovation by taking advantage of the innovations of the other. This reinforces the argument of Porous in that fiction can be incrementally or distinctly improved from previous intangible creations. Three, Wong & Matthews define the core trait that enables creators of intangible media as the ability to synthesize fiction with the tools of imagination and skill. And four, Wong & Matthews explain that the industry is a collaboration of diverse skills. The Porous paper uses the explanation to argue that intangible creative innovations spread to tangible technology innovators.

APPENDIX A. TIMELINES

Appendix Table A.1. SIP I Timeline

1.0 7 11/16/09 12/14/09 11/16/09 11/23/09 11/30/09 12/7/09 12/14/091.1 Week 1 11/16/09 11/22/09

1.1.1 7 11/16/09 11/22/091.1.2 Created "subtractive fiction" 2 11/19/09 11/20/091.1.3 Coined "porous multiverse" 1 11/21/09 11/21/09

1.2 Week 2 7 11/23/09 11/29/09

1.2.1 11/25/09 11/26/09

1.2.3 11/28/09 12/9/09

1.2.4 11/28/09 11/29/09

1.3 Week 3 11/30/09 12/6/09

1.3.1 11/25/11 12/16/09

1.3.2 12/1/09 12/6/11

1.3.3 12/5/09 12/9/09

1.3.4 12/5/09 8/16/09

1.3.5 11/21/09 12/9/09

1.4 Week 4 12/7/09 12/13/09

1.4.1 12/5/09 12/19/09

1.4.2 11/25/11 12/19/09

1.5 Week 5 12/14/09 12/20/09

1.5.1 12/5/09 12/20/09

1.5.2 11/25/11 12/19/09

1.5.3 12/19/09 12/19/09

Porous Multiverse Timeline: SIP I

Started cluster brainstorms, initial idea selection

Started planning development structure, crew structure

Started writing research and gathering sources for defense of movie praticality

Porous multiverse concept fully developed, elaboration continues

Continued to develop structure for recruitment of crew and production process

Started working on main argument for the purpose of the porous multiverse

Researched and wrote on the purposes of literature and how literature works in regards to human development and communication

Started development of story treatment

Continued to develop description of how porous multiverse affects fiction, and how ideas can spread to other fictional works

Continued goals of 1.3.3, literatary theory, semiotics, and human communication; worked on SIB

Continued production structure planning

Continued 1.3.3 SIB revisions in preparation for presentation

Continued production structure planning

Created slide presentation of SIB

Appendix Table A.2. SIP II Timeline

2.0 35 5/10/10 6/13/10 5/10/10 5/17/10 5/24/10 5/31/10 6/7/102.1 Week 1 7 5/10/10 5/9/10

2.1.1 5 5/14/10 5/18/11

2.2 Week 2 7 5/17/10 5/23/10

2.2.1 6 5/14/10 5/22/10

2.2.2 23 5/22/10 6/13/10

2.3 Week 3 7 5/24/10 5/30/10

2.3.1 23 5/22/10 6/13/10

2.3.2 6 5/26/10 5/31/10

2.4 Week 4 7 5/31/10 6/6/10

2.4.1 5 6/1/10 6/5/10

2.4.2 2 6/5/10 6/6/10

2.4.3 1 6/6/10 6/6/10

2.5 Week 5 7 6/7/10 6/13/10

2.5.1 6 6/7/10 6/11/10

2.5.2 7 6/7/10 6/11/10

2.5.3 3 6/9/10 6/11/10

2.5.4 1 6/11/10 6/11/10

2.5.5 1 6/12/10 6/12/10

Porous Multiverse Timeline: SIP II

Started researching potential organizational audiences

Continued to research potential organizational audiences

Started working on SIB abstract

Continued work on SIB abstract

Started working on presentation outline

Started draft of presentation speech

Completed first draft of slide presentation with test read-through

Image selection for slides began

Continued adding images to slide presentation

Continued editing speech and slides

Started working on audio for presentation

Completed speech delivery, finalized audio, video, and submitted final presentation

Completed documentary revisions for the work in SIP II in the SIB

Appendix Table A.3. SIP III Timeline

3.4.7 1 8/8/11 8/8/11

3.5 Week 5 7 8/15/11 8/21/11

3.5.1 3 8/18/11 8/20/213.5.2 Continued script revision 24 7/29/11 8/21/11

3.5.3 13 8/4/11 8/16/11

3.5.4 6 8/16/11 8/21/11

3.5.5 14 8/3/11 8/16/11

3.5.6 2 8/20/11 8/21/11

Submitted antonymic presentation assignment

Completed spreadsheet timelines and summarized project development process for SIPs I, II, and III

Finalized story in synopsis and in presentation

Completed summary presentation of the SIP

Completed character profile, background, and visual research

Completed SIB requirements, including revisions to project goals, review of related materials, and reference list entries and annotations

APPENDIX B. PRE-PRODUCTION WORK

Appendix Table B.1. Archetype: Explorer

Appendix Table B.2. Archetype: Adventurer

Appendix Table B.3. Archetype: Blender

Appendix Table B.4. Archetype: Splitter

Appendix Table B.5. Archetype: Savior Hero

Appendix Table B.6. Archetype: Lost Wanderer

Appendix C. Concept Art

Appendix Table C.1. Character: James Holwell

Appendix Table C.2. Character: Berenice Aventura

Appendix Table C.3. Character: Kho'likh Ch'kunya

Appendix Table C.4. Character: Desejo Colheita

Appendix Table C.5. Environment: Desert Tree

Appendix Table C.6. Environment: Forest

Appendix Table C.7. Environment: Expanded Temple