Thanks to this Master's Degree, you will be capable of writing a script on par with The Last of Us”

In recent years, there has been a revolution in the video game industry that has increased the number of players, the number of new titles and the variety of game styles. Therefore, within this transformation, users have been demanding more complexity, more realism and greater size, in all senses, in the video games they consume.

One of these demands has also had to do with the narrative. Current gamers are demanding and wanting to play video games with interesting and profound storylines. For this reason, big companies in the sector need scriptwriters with appropriate training, who are capable of creating attractive stories adapted to this audiovisual media.

This Master's Degree in Video Game Narrative is the answer for all those professionals interested in being great specialists who write the stories that millions of players worldwide will love and enjoy. In this way, this program offers a series of skills applied to the creation of video games scripts which will help students to become true experts in the subject, putting them in the position to be able to work with the best projects in the world.

You will be the Aaron Sorkin of video games” 

This Master's Degree in Video Game Narrative contains the most complete and up-to-date program on the market. Its most notable features are: 

• Practical cases presented by experts in Video Game Narrative
• The graphic, schematic and practical contents with which they are conceived, gather scientific and practical information on those disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

You love to write and create stories and the video game industry needs creative people like you: specialize now and achieve success” 

The teaching staff of this program includes professionals from the industry, who contribute the experience of their work to this program, in addition to recognized specialists from reference societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive learning programmed to learn in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise throughout the program. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.  

Write top level scripts for video games thanks to this program"

This program in the key to you entering into the biggest companies in the industry"

The contents of this Master's Degree in Video Game Narrative have been designed by leading experts in the field, so that students are able to acquire all the necessary knowledge to become specialists in the development of stories for video games. Therefore, its structure in 10 modules will help them develop a whole series of skills that will make them write the best scripts for the best video games of the future.

Conducted by experts in the field, this syllabus guarantees you will learn everything about 3D animation in virtual reality environments” 

Module 1. Video Game Design

1.1. The Design

1.1.1. Design
1.1.2. Types of Design
1.1.3. Design Process

1.2. Design Elements

1.2.1. Rules
1.2.2. Balance
1.2.3. Fun

1.3. Types of Players

1.3.1. Explorer and Social
1.3.2. Killer and Winners
1.3.3. Differences

1.4. Player Skills

1.4.1. Role Skills
1.4.2. Action Skills
1.4.3. Platform Skills

1.5. Game Mechanics I

1.5.1. Components
1.5.2. Physical
1.5.3. Items

1.6.  Game Mechanics II

1.6.1. Keys
1.6.2. Platforms
1.6.3. Enemies

1.7. Other Elements

1.7.1. Mechanisms
1.7.2. Dynamics
1.7.3. Aesthetics

1.8. Video Game Analysis

1.8.1. Analysis of Game Play
1.8.2. Artistic Analysis
1.8.3. Style Analysis

1.9. Level Design

1.9.1. Level Design Inside
1.9.2. Level Design Outside 
1.9.3. Mixed Level Design in Interiors
1.10. Advanced Level Design

1.10.1. Puzzles

1.10.2. Enemies
1.10.3. Environment

Module 2. Design Document

2.1. Structure of the Document

2.1.1. Design Document
2.1.2. Structure
2.1.3. Style

2.2. General Idea, Market and References

2.2.1. General Idea
2.2.2. Market
2.2.3. References

2.3. Setting, Story and Characters

2.3.1. Ambience
2.3.2. History
2.3.3. Characters

2.4. Gameplay, Mechanisms and Enemies

2.4.1. Gameplay
2.4.2. Mechanisms
2.4.3. Enemies and NPC

2.5. Controls

2.5.1. Controller
2.5.2. Laptop
2.5.3. Computer

2.6. Levels and Progression

2.6.1. Levels
2.6.2. Journey
2.6.3.  Progression

2.7. Items, Skills and Elements

2.7.1. Items
2.7.2. Skills
2.7.3. Components

2.8. Achievements

2.8.1. Medals
2.8.2. Secret Characters
2.8.3. Extra Points

2.9. HUD and Interface

2.9.1. HUD
2.9.2. Interface
2.9.3. Structure

2.10. Saved and Attached

2.10.1. Saved
2.10.2. Annexed Information
2.10.3. Final Details

Module 3. Video Game Narrative

3.1. Why Tell a Story?

3.1.1. Introduction
3.1.2. Narration and Sense
3.1.3. Narrative Video Games vs. Action-Based Video Games
3.1.4. Subtleties in the Narrative

3.2. The Idea of Audiovisual Storytelling

3.2.1. Video Game Narrative
3.2.2. Video Game Script
3.2.3. Main Arguments in Different Video Game Plots
3.2.4. Structure, Characters and Dialogues Developed in the Video Game Script

3.3. The Structure of Audiovisual Storytelling

3.3.1. The Idea
3.3.2. The Structure of Storytelling
3.3.3. Genre, Format and Tone
3.3.4. Narrative Point of View

3.4.  Content of the Story: Action Nodes and Types

3.4.1. Examples of Action Nodes
3.4.2. Practical Narrative Example I
3.4.3. Practical Examples Narrative II
3.4.4. Practical Examples Narrative III

3.5. Storytelling in a Video Game: Interaction

3.5.1. Introduction
3.5.2. Playable Nodes and Open Structures
3.5.3. Narration and Interaction 
3.5.4. Applications of Interactive Narrative

3.6. Storytelling in a Video Game: Immersion

3.6.1. Introduction
3.6.2. Environmental Narrative
3.6.3. Visual Narrative of Characters
3.6.4. Evolution of the Narrative in Video Games

3.7. Creation of Characters

3.7.1. Defining the Character
3.7.2. Pre-Production, Briefing, Submission Dates, Milestone
3.7.3. Basic Structure of the Character with Geometric Shapes. Understanding of the Canon and Proportions
3.7.4. Body Expression. Torsions. Giving Them Personality
3.7.5. Basic Structure of the Face, Facial Expressions and Variants in the Structure
3.7.6. Character Design Finishes According to the Needs of the Project
3.7.7. Preparation of the Character Sheet for Production

3.8. Principles of Interactive Narrative

3.8.1. Pragmatics of the Design. Persuasion and Seduction
3.8.2. Conflict and Idea in Interactive Speech
3.8.3. Character Building. Avatar and Player Representation
3.8.4. Narrative and Ludic Structures. Narrative Spaces in Video Games. Dialogue Tree and Ramifications

3.9. Theories of Interactive Narrative

3.9.1. Introduction to the Narrative and Interaction
3.9.2. Hypertext and Cybertext. Digital and Procedural Rhetoric
3.9.3. Ludonarrative and Ludofiction. Fictional Interactive Worlds
3.9.4. Applications of Interactive Narrative

3.10. History of the Narrative in Video Games

3.10.1. 1980-1990
3.10.2. 1990-2000
3.10.3. 2000-2010
3.10.4. 2010- Present Day

Module 4. Video Game Design: Script and Storyboarding

4.1. Script and Storyboard

4.1.1. History of the Video Game
4.1.2. Product Sheet
4.1.3. Ideas Source 
4.1.4. Narrative through Images

4.2. Key Components in Scripts and Storyboard

4.2.1. Conflict
4.2.2. Protagonist: Defining Keys
4.2.3. Antagonists, NPCs
4.2.4. The Scene

4.3. The Script: Key Concepts

4.3.1. The History
4.3.2. Argument 
4.3.3. Literary Script
4.3.4. The Play-List
4.3.5. Technical Script

4.4. The Script: Fundamentals of the Narrative

4.4.1. Dialogue: The Rightful Importance of the Word
4.4.2. Types of Characters 
4.4.3. How to Create a Character
4.4.4. Transformation Arches
4.4.5. Pitching: Selling a Script

4.5. The Script: The Hero’s Journey and the Aristotelian Figure

4.5.1. What is the Hero’s Journey?
4.5.2. Stages of the Hero According to Vogler
4.5.3. How to Apply the Hero’s Journey to Our Stories
4.5.4.  Examples of Applied Hero’s Journey

4.6. The Storyboard

4.6.1. Introduction, History and Evolution of the Art of the Storyboard
4.6.2. Functionality and Art
4.6.3. Writing and Drawings in Storyboard
4.6.4. Choice of Framing, Continuity, Angulation, Clarity
4.6.5. Staging of Characters: Pre-Posing
4.6.6. Environments, Backgrounds and Shading
4.6.7. Written Information and Conventional Signs

4.7. The Animatic

4.7.1. Use of Animatic
4.7.2. Precursors to Animatic in Storyboard
4.7.3. How to Make an Animatic
4.7.4. Timing

4.8. Genres and Polyhedral Narrative

4.8.1. Character Design
4.8.2. Adventure
4.8.3. Narrative Adventures
4.8.4. RPGs

4.9. Lineal Narratives

4.9.1. Arcades, FPS and Platform Games
4.9.2. Alternative Narratives
4.9.3. Serious Games and Simulators
4.9.4. Sport and Driving Games

4.10. Dialogue through a Script

4.10.1. Love, Humor and Surrealism
4.10.2. Fear, Horror and Disgust
4.10.3. Realistic Dialogues
4.10.4. Interpersonal Relationships

Module 5. Consoles and Devices for Videogames

5.1. History of Programming in Video Games

5.1.1. Atari (1977-1985)
5.1.2. Nintendo and Super Nintendo Entertainment Systems (NES and SNES) (1985-1995)
5.1.3. PlayStation / PlayStation 2 (1995-2005)
5.1.4. Xbox 360, PlayStation 3 and Nintendo Wii (2005-2013)
5.1.5. Xbox One, PS4 and Wii U–Switch Era (2013-Present)
5.1.6. The Future

5.2. History of Gameplay in Video Games

5.2.1. Introduction
5.2.2. The Social Context
5.2.3. Structural Diagram
5.2.4. Future

5.3. Adapting to Modern Times

5.3.1. Games Based on Movement
5.3.2. Virtual Reality
5.3.3. Augmented Reality
5.3.4. Mixed Reality

5.4. Unity: Scripting I and Examples

5.4.1. What Is a Script?
5.4.2. Our First Script
5.4.3. Adding a Script
5.4.4. Opening a Script
5.4.5. MonoBehavior
5.4.6. Debugging

5.5.  Unity: Scripting II and Examples

5.5.1. Keyboard and Mouse Input
5.5.2. Raycast
5.5.3. Installation
5.5.4. Variables:
5.5.5. Public and Serialized Variables

5.6. Unity: Scripting III and Examples

5.6.1. Obtaining Components
5.6.2. Modifying Components
5.6.3. Testing
5.6.4. Multiple Objects
5.6.5. Colliders and Triggers
5.6.6. Quaternions

5.7. Peripherals

5.7.1. Evolution and Classification
5.7.2. Peripherals and Interfaces
5.7.3. Current Peripherals
5.7.4. Near Future

5.8. Video Games: Future Perspectives

5.8.1. Games Based in the Cloud
5.8.2. Absence of Controllers
5.8.3. Immersive Reality
5.8.4. Other Alternatives

5.9. Architecture

5.9.1. Special Needs in Video Games
5.9.2. Evolution of Architecture
5.9.3. Current Architecture
5.9.4. Differences Between Architecture

5.10.  Development Kits and Their Evolution

5.10.1. Introduction
5.10.2. Third Generation of Development Kits
5.10.3. Fourth Generation of Development Kits
5.10.4. Fifth Generation of Development Kits
5.10.5. Sixth Generation of Development Kits

Module 6. 3D Modeling

6.1. 3D in Video Games: Why Is It Important?

6.1.1. History of Computer-Generated 3D
6.1.2. Implementation of 3D in Video Games
6.1.3. Techniques for 3D Optimization in Video Games
6.1.4. Interaction Between Graphic Software and Game Engines

6.2. 3D Modeling: Maya

6.2.1. Maya’s Philosophy
6.2.2. Capabilities of Maya
6.2.3. Projects Created with Autodesk Maya
6.2.4. Introduction to Modeling, Rigging, and Texturing Tools

6.3. 3D Modeling: Blender

6.3.1. Blender’s Philosophy
6.3.2. Past, Present, and Future
6.3.3. Projects Created with Blender
6.3.4. Blender Cloud
6.3.5. Introduction to Modeling, Rigging, and Texturing Tools

6.4. 3D Modeling: ZBrush

6.4.1. ZBrush’s Philosophy
6.4.2. Integration of ZBrush in a Production Pipeline
6.4.3. Advantages and Disadvantages Compared to Blender
6.4.4. Analysis of Designs Created in ZBrush

6.5. 3D Texturing: Substance Designer

6.5.1. Introduction to Substance Designer
6.5.2. Substance Designer’s Philosophy
6.5.3. Substance Designer in Video Game Production
6.5.4. Interaction Between Substance Designer and Substance Painter

6.6. 3D Texturing: Substance Painter

6.6.1. What Is Substance Painter Used For?
6.6.2. Standardization of Substance Painter
6.6.3. Stylized Texturing with Substance Painter
6.6.4. Realistic Texturing with Substance Painter
6.6.5. Analysis of Textured Models

6.7. 3D Texturing: Substance Alchemist

6.7.1. What Is Substance Alchemist?
6.7.2. Substance Alchemist Workflow
6.7.3. Alternatives to Substance Alchemist
6.7.4. Project Examples

6.8. Rendering: Texture Mapping and Baking

6.8.1. Introduction to Texture Mapping
6.8.2. UV Mapping
6.8.3. UV Optimization
6.8.4. UDIMs
6.8.5. Integration with Texturing Software

6.9. Rendering: Advanced Lighting

6.9.1. Lighting Techniques
6.9.2. Contrast Balancing
6.9.3. Color Balancing
6.9.4. Lighting in Video Games
6.9.5. Resource Optimization
6.9.6. Pre-Rendered vs Real-Time Lighting

6.10. Rendering: Scenes, Render Layers, and Passes

6.10.1. Using Scenes
6.10.2. Utility of Render Layers
6.10.3. Utility of Passes
6.10.4. Integration of Passes in Photoshop

Module 7. Video Game Engines

7.1. Video Games and ICT

7.1.1. Introduction
7.1.2. Opportunities
7.1.3. Challenges
7.1.4. Conclusions

7.2. History of Video Game Engines

7.2.1. Introduction
7.2.2. Atari
7.2.3. The 80s
7.2.4. First Engines. The 90s
7.2.5. Current Engines

7.3. Video Game Engines

7.3.1. Types of Engines
7.3.2. Video Game Engine Parts
7.3.3. Current Engines
7.3.4. Selecting an Engine for Our Project

7.4. Motor Game Maker

7.4.1. Introduction
7.4.2. Scenarios Design
7.4.3. Sprites and Animations
7.4.4. Collisions
7.4.5. Scripting in Game Maker Languages (GML)

7.5. Unreal Engine 4: Introduction

7.5.1. What Is Unreal Engine 4? What Is Its Philosophy?
7.5.2. Materials
7.5.3. UI
7.5.4. Animations
7.5.5. Particle Systems
7.5.6. Artificial Intelligence
7.5.7. Frames Per Second (FPS)

7.6. Unreal Engine 4: Visual Scripting

7.6.1. Blueprints and Visual Scripting Philosophy
7.6.2. Debugging
7.6.3. Types of Variables
7.6.4. Basic Flow Control

7.7. Unity 5 Engine

7.7.1. C# y Visual Studio Programming
7.7.2. Creating Prefabs
7.7.3. Using Gizmos to Control Video Games
7.7.4. Adaptive Engine: 2D and 3D

7.8. Godot Engine

7.8.1. Godot Design Philosophy
7.8.2. Object- and Composition-Oriented Design
7.8.3. All in One Package
7.8.4. Open and Community-Driven Software

7.9. RPG Maker Engine

7.9.1. RPG Maker Philosophy
7.9.2. Taking as a Reference
7.9.3. Creating a Game with Personality
7.9.4. Commercially Successful Games

7.10. Source 2 Engine

7.10.1. Source 2 Philosophy
7.10.2. Source and Source 2: Evolution
7.10.3. Use of the Community: Audiovisual Content and Video Games
7.10.4.  Future of Source 2 Engine
7.10.5. Successful Mods and Games

Module 8. Human-Computer Interaction

8.1. Introduction to Human-Computer Interaction

8.1.1. What is Human-Computer Interaction?
8.1.2. Relationship Between Human-Computer Interaction and Other Disciplines
8.1.3. User Interface
8.1.4. Usability and Accessibility
8.1.5. User Experience and User-Focused Design Methodology

8.2. Computer and Interaction: User Interface and Interaction Paradigms

8.2.1. Interaction
8.2.2. Paradigms and Styles of Interaction
8.2.3. Evolution of User Interfaces
8.2.4. Classic User Interfaces: WIMP/GUI, Commands, Voice, Virtual Reality
8.2.5. Innovative User Interfaces: Mobiles, Laptops, Collaborative, BCI

8.3. The Human Factor: Psychological and Cognitive Aspects

8.3.1. The Importance of the Human Factor in Interaction
8.3.2.  Human Information Processing
8.3.3. The Input and Output of Information: Visual, Audio and Tactile
8.3.4. Perception and Attention
8.3.5. Knowledge and Mental Models: Representation, Organization and Acquisition

8.4. The Human Factor: Sensory and Physical Limitations

8.4.1. Functional Diversity, Disability and Deficiency
8.4.2. Visual Diversity
8.4.3. Audio Diversity
8.4.4. Cognitive Diversity
8.4.5. Motor Diversity
8.4.6. The Case of Digital Immigrants

8.5. Design Process (I): Requirements Analysis for the User Interface Design

8.5.1. User-Centered Design
8.5.2. What is Requirements Analysis?
8.5.3. Collection of Information
8.5.4. Analysis and Interpretation of Information
8.5.5. Usability and Accessibility Analysis

8.6. Design Process (II): Prototype and Task Analysis

8.6.1. Conceptual Design
8.6.2. Prototyping
8.6.3. Hierarchic Task Analysis 

8.7. Design Process (III): The Evaluation

8.7.1. Evaluation in the Design Process: Objectives and Methods
8.7.2. Evaluation Methods Without Users
8.7.3. Evaluation Methods With Users
8.7.4. Evaluation Standards and Rules

8.8. Accessibility: Definition and Steps

8.8.1. Universal Accessibility and Design
8.8.2. WAI Initiative and WCAG Steps
8.8.3. WCAG 2.0 and 2.1

8.9. Accessibility: Evaluation and Functional Diversity

8.9.1. Web Site Accessibility Evaluation Tools
8.9.2. Accessibility and Functional Diversity

8.10. The Computer and Interaction: Peripherals and Devices

8.10.1. Traditional Peripherals and Devices
8.10.2. Alternative Peripherals and Devices
8.10.3. Mobiles and Tablets
8.10.4. Functional Diversity, Interaction and Peripherals

Module 9. Video Games and Simulation for Research and Education

9.1. Introduction to Serious Video Games

9.1.1. What Does a Serious Game Involve?
9.1.2. Features
9.1.3. Highlights
9.1.4. Advantages of Serious Games

9.2. Motivation and Objectives of Serious Games

9.2.1. Creation of Serious Games
9.2.2. Motivation of Serious Games
9.2.3. Objectives of Serious Games
9.2.4. Conclusions

9.3. Simulation Games

9.3.1. Introduction
9.3.2. Game- Simulation
9.3.3. Video Games and ICT
9.3.4. Games, Simulations and Management

9.4. Training-Oriented Design

9.4.1. Gamification Model
9.4.2. Rewards
9.4.3. Incentives
9.4.4. Gamification Applied to Work

9.5. How to Carry Out Effective Gamification

9.5.1. The Theory of Diversion
9.5.2. Gamification and Willpower
9.5.3. Gamification and New Technologies
9.5.4. Famous Examples

9.6. Learning: Game Flow and Progress

9.6.1. Game Flows
9.6.2.  Feeling of Progress
9.6.3. Feedback
9.6.4. Degree of Completion

9.7. Learning Process: Game-Based Evaluation

9.7.1. Kahoot!
9.7.2. Methodology
9.7.3. Results
9.7.4. Conclusions Extracted

9.8.  Fields of Study: Educational Application

9.8.1. Case Study: Application of Gamification Techniques in Class
9.8.2. Step 1: User and Context Analysis
9.8.3. Step 2: Learning Objectives Definition
9.8.4. Step 3: Designing the Experience
9.8.5. Step 4: Identifying Resources
9.8.6. Step 5: Application of Gamification Elements

9.9. Field of Study: Simulation and Mastery of Skills

9.9.1. Gamification, Simulators and Orientation Towards the Entrepreneurial Attitude
9.9.2. Sample
9.9.3. Data Collection
9.9.4. Data Analysis and Results
9.9.5. Conclusions

9.10. Field of Study: Therapy Tools (Real Cases)

9.10.1. Therapeutic Gamification: Main Objectives
9.10.2. Virtual Reality Therapies
9.10.3. Therapies with Adapted Peripherals
9.10.4. Conclusions Extracted

Module 10. Multiplayer Networks and Systems

10.1. History and Evolution of Multiplayer Video Games

10.1.1. The 1970s: First Multiplayer Games
10.1.2. The 90s: Duke Nuke, Doom and Quake
10.1.3. Rise of Multiplayer Video Games
10.1.4. Local and Online Multiplayer
10.1.5. Party Games

10.2. Multiplayer Business Games

10.2.1. Origin and Function of Emerging Business Models
10.2.2. Online Sales Services
10.2.3. Free to Play
10.2.4. Micropayments
10.2.5. Advertising
10.2.6. Monthly Payment Subscription
10.2.7. Pay to Play
10.2.8. Try before You Buy

10.3. Local and Network Games

10.3.1. Local Games: Beginnings
10.3.2.  Party Games: Nintendo and Family Union
10.3.3. Networks Games: Beginnings
10.3.4. Network Games Evolution

10.4. OSI Model: Layers I

10.4.1. OSI Model: Introduction
10.4.2. Physical Layer
10.4.3. Data Link Layer
10.4.4. Network Layer

10.5. OSI Model: Layers II

10.5.1. Transport Layer
10.5.2. Session Layer
10.5.3.  Presentation Layer
10.5.4. Application Layer

10.6. Computer Networks and the Internet

10.6.1. What Are Computer Networks?
10.6.2. Software
10.6.3. Hardware
10.6.4. Servers
10.6.5. Network Storage
10.6.6. Network Protocols

10.7. Mobile and Wireless Networks

10.7.1. Mobile Networks
10.7.2. Wireless Networks
10.7.3. How Mobile Networks Work
10.7.4. Digital Technology

10.8. Confidence

10.8.1. Personal Security
10.8.2. Video Game Hacks and Cheats
10.8.3. Anti-Cheating Safety
10.8.4. Anti-Cheating Security Systems Analysis

10.9. Multiplayer Systems: Servers

10.9.1. Server Hosting 
10.9.2. Massively Multiplayer Online (MMO) Video Games 
10.9.3. Dedicated Video Game Servers 
10.9.4. Local Area Network (LAN) Parties 

10.10. Multiplayer Video Game Design and Programming 

10.10.1. Multiplayer Video Game Design Basics in Unreal 
10.10.2. Multiplayer Video Game Design Basics in Unity 
10.10.3. How to Make a Multiplayer Game Fun 
10.10.4. Beyond a Controller: Innovation in Multiplayer Controls

Make the most of the opportunity and take the step to get up to date on the latest developments in Video Game Narrative"