Sarah Fletcher
101685
http://studiomao.blogspot.com/search/label/BA4%20Project%203
Showing posts with label BA4 Project 3. Show all posts
Showing posts with label BA4 Project 3. Show all posts
Saturday, 26 November 2011
Wednesday, 23 November 2011
The World as a Character
In video games the narrative of a game world is as fundamental as the game play is. If the player does not believe the world as a character, they cannot become as immersed as they should. Everything should have its place in the World and if something doesn't seem to fit and there is no clear understanding of why it's there, the World starts to become incoherent and a player will disbelieve the game. All loses depth and meaning.
“How is the world a Character?”
“Every story world needs to interact with the story.”
The Narrative world does not solely involve the physical landscape but all that make up the world, the existence of the game. It is another element for the character to interact with. It can guide or hinder the player as well as give them reason and purpose. To be without an established narrative world would result in an insubstantial character; with no history of a home to distinguish them from another and no past to build their morals and sense of purpose. The world moulds every character into what and who they are, like a teacher moulds a student and vice-versa.
For example, if the world of a young boy is war torn and damaged, so quite possibly is that child. Growing up in fear of his life and the lives of those he cares about, he could develop resentment towards those that live differently or those of who have caused the state of the world. Alternatively, he could grow up to be someone with deep compassion for others, valuing every life as he understands, through his own hardships, how precious life is.
“What role does this character play?”
Vladimir Propp, a Russian scholar, analyzed 100 folk tales and compiled a list of keystone character roles which would appear over again from one tale to a next, no matter how different the characters may be.
The 8 roles are:
The Villain – The one who struggles against the Hero.
The Donor – The one who prepares the hero or gives the hero some magical object.
The Helper (magical) – Helps the Hero on the quest
The Princess – The Heros reward for their efforts
Her Father – The one who rewards the Hero
The Dispatcher – The one who sends the hero off on their adventure
The Hero – The one who reacts to the dispatcher and villain.
The False Hero - Disrupts the Hero on their adventure by making false claims.
If we were to assign the Narrative world one of the 7 possible roles, it could be the role of the Donor as is the case in most Role Playing Games where the character discovers objects amongst the environment or it could be the role of the Villain as is the case in the game Catherine by Atlus – in which the player must beat the environment.
“What makes the world coherent”
Consistency and Signifiers help establish a coherent world. An easy way to quickly lose coherency in a game world is by being inconsistent. If the world is set in the past like Koei’s Dynasty Warriors series is, having items which are so obviously modern such as a car or a machine gun, when every other element is conforming to the style of that period, disillusions the game. In contrast to the city structures, armours and devices of Ancient China, the sight of someone pulling up in a Ferrari firing an AK-47 would be extremely out of place as would the sight of an Ancient Chinese Warlord appearing in the middle of a battlefield on Halo.
“Everything should have its place and reinforce each other”
However, it would not be so obscure to witness if it were balanced out. For example, the clothing style of Dynasty Warriors is somewhat modern and not an exact replica of the Ancient times’ style.
“This is when signifiers play a vital role.” - [Bring up Image]
Women of the Three kingdoms period (the time frame in which the series is set) would not expose so much of their flesh, especially those of the higher class. They would instead wear long, ornate robes that fell to their feet and would completely cover their arms. However, we can see that in order to modernize the game and make playing the female characters more appealing to the male market, the female fashion is redesigned to be revealing. Despite this, we still accept the outfits as coherent assets due to the signifiers in the form of the use of colours, embroidery and accessories.
[Analyse Image]
By keeping the same style of cut in the outfits and including the previously mentioned elements of the Chinese style, the time period is automatically signified regardless of its lack of accuracy.
It’s not only through the sights the player sees but also the sounds they here. Dynasty Warriors is a very active hack and slash style of game and a lot of the music is either oriental or techno and as energetic as is what is required of the player.
During cut-scenes which take place in a battle camp, we hear a few sounds of usually men talking in the background, a fire burning, horses whinnying and so forth, setting the scene of the calm before the fight. Again, this is consistent for the time period in which the game is set. The oriental music places us in Asia while the more natural sounds signifies the time period or, at the very least, an understanding that the world is not one of modern technology. Were the game set in modern times, we may hear the background sounds of men talking and possibly fires burning but the horses would, in most cases, be inconsistent and would be replaced with the sounds of engines and machinery.
[second slide]
In my own project, ZORK: The Remnants, the world is a vital character and for some players, may be the only other character they’ll interact with depending on choices they make through the game. If the world of ZORK is not completely coherent, the game would make little to no sense and would be indistinguishable and lack any depth.
The player determined character wakes up and is completely alone. There’s no one to tell the character what has happened, what time it is or what they should be doing. This is where the world takes on several of Propps Roles.
“The Dispatcher”
Through signifiers, the narrative world informs the character that the Earth is abandoned but he is possibly not alone.
After an introduction sequence showing the player why the character is where they are and the game play starts, the player sees 10 pods in the room from the sequence, including the one they themselves have been asleep in. While many of the pods are still sealed and the player is not able to work out how to open them, some have already been opened and are now empty. Although it is somewhat subtle, this is the Narrative Worlds first message to the player that there are other characters to meet. However, as the player explores the building trying to find a way out, there are a number of corpses and signs of damage to the building. This informs the character that there has been some kind of disaster. These elements prompt the player to look for other life as well as discover what has happened. Proceeding through the game, the player discovers the state of their city; damaged and over grown with foliage. Out in the city, there are no sounds of daily life such as cars or even chatter. All that the player can hear are the sounds of nature. Instantly, the player becomes aware that the city has been through some sort of apocalyptic ordeal and has been left abandoned. They are left with the choice of finding other survivors and uncovering the truth about what has happened or to simply accept what is and attempt the challenge of surviving in the world.
“The Villain”
The world is constantly providing challenges against the character and hindering their chances of survival. As time has passed, animals have adapted to the new environment and now roam free amongst the city. As it has been a long time since humans have been around and some animals are naturally aggressive, not all animals will take well to the sight of a human wondering the streets. While some will be docile, others may try to attack and make a meal out of the player.
The landscape and environment is also a hindrance to the player. Unstable terrain obstructs the player from reaching places as well as throwing them off of course. The night-time makes the environment even more so of a challenge. As much as it would benefit the player, it would be inconsistent of the narrative world for there to be working streetlights when there is no one around to maintain the power supply. If the player wants light and warmth at night then they must seek out shelter and battery or fire powered sources, else risk the chance of falling into a pit.
“The Donor and the Helper”
The narrative world is not completely against the player though. It does provide resources for the character as well as gives the character shelter and comfort. Amongst the rubble, the player can find tools and resources like knives, clothes, and food. Natural rivers and wild animals take care of the players’ basic needs and through deeper exploration; the player may discover more substantial aid such as a tool for communicating with the people that escaped the Planet.
Without the world taking up these roles, the character would be aimless. There would be no reason for their action as they would now know where to begin if they are not aware of what their aim is.
“How is the world a Character?”
“Every story world needs to interact with the story.”
The Narrative world does not solely involve the physical landscape but all that make up the world, the existence of the game. It is another element for the character to interact with. It can guide or hinder the player as well as give them reason and purpose. To be without an established narrative world would result in an insubstantial character; with no history of a home to distinguish them from another and no past to build their morals and sense of purpose. The world moulds every character into what and who they are, like a teacher moulds a student and vice-versa.
For example, if the world of a young boy is war torn and damaged, so quite possibly is that child. Growing up in fear of his life and the lives of those he cares about, he could develop resentment towards those that live differently or those of who have caused the state of the world. Alternatively, he could grow up to be someone with deep compassion for others, valuing every life as he understands, through his own hardships, how precious life is.
“What role does this character play?”
Vladimir Propp, a Russian scholar, analyzed 100 folk tales and compiled a list of keystone character roles which would appear over again from one tale to a next, no matter how different the characters may be.
The 8 roles are:
The Villain – The one who struggles against the Hero.
The Donor – The one who prepares the hero or gives the hero some magical object.
The Helper (magical) – Helps the Hero on the quest
The Princess – The Heros reward for their efforts
Her Father – The one who rewards the Hero
The Dispatcher – The one who sends the hero off on their adventure
The Hero – The one who reacts to the dispatcher and villain.
The False Hero - Disrupts the Hero on their adventure by making false claims.
If we were to assign the Narrative world one of the 7 possible roles, it could be the role of the Donor as is the case in most Role Playing Games where the character discovers objects amongst the environment or it could be the role of the Villain as is the case in the game Catherine by Atlus – in which the player must beat the environment.
“What makes the world coherent”
Consistency and Signifiers help establish a coherent world. An easy way to quickly lose coherency in a game world is by being inconsistent. If the world is set in the past like Koei’s Dynasty Warriors series is, having items which are so obviously modern such as a car or a machine gun, when every other element is conforming to the style of that period, disillusions the game. In contrast to the city structures, armours and devices of Ancient China, the sight of someone pulling up in a Ferrari firing an AK-47 would be extremely out of place as would the sight of an Ancient Chinese Warlord appearing in the middle of a battlefield on Halo.
“Everything should have its place and reinforce each other”
However, it would not be so obscure to witness if it were balanced out. For example, the clothing style of Dynasty Warriors is somewhat modern and not an exact replica of the Ancient times’ style.
“This is when signifiers play a vital role.” - [Bring up Image]
Women of the Three kingdoms period (the time frame in which the series is set) would not expose so much of their flesh, especially those of the higher class. They would instead wear long, ornate robes that fell to their feet and would completely cover their arms. However, we can see that in order to modernize the game and make playing the female characters more appealing to the male market, the female fashion is redesigned to be revealing. Despite this, we still accept the outfits as coherent assets due to the signifiers in the form of the use of colours, embroidery and accessories.
[Analyse Image]
By keeping the same style of cut in the outfits and including the previously mentioned elements of the Chinese style, the time period is automatically signified regardless of its lack of accuracy.
It’s not only through the sights the player sees but also the sounds they here. Dynasty Warriors is a very active hack and slash style of game and a lot of the music is either oriental or techno and as energetic as is what is required of the player.
During cut-scenes which take place in a battle camp, we hear a few sounds of usually men talking in the background, a fire burning, horses whinnying and so forth, setting the scene of the calm before the fight. Again, this is consistent for the time period in which the game is set. The oriental music places us in Asia while the more natural sounds signifies the time period or, at the very least, an understanding that the world is not one of modern technology. Were the game set in modern times, we may hear the background sounds of men talking and possibly fires burning but the horses would, in most cases, be inconsistent and would be replaced with the sounds of engines and machinery.
[second slide]
In my own project, ZORK: The Remnants, the world is a vital character and for some players, may be the only other character they’ll interact with depending on choices they make through the game. If the world of ZORK is not completely coherent, the game would make little to no sense and would be indistinguishable and lack any depth.
The player determined character wakes up and is completely alone. There’s no one to tell the character what has happened, what time it is or what they should be doing. This is where the world takes on several of Propps Roles.
“The Dispatcher”
Through signifiers, the narrative world informs the character that the Earth is abandoned but he is possibly not alone.
After an introduction sequence showing the player why the character is where they are and the game play starts, the player sees 10 pods in the room from the sequence, including the one they themselves have been asleep in. While many of the pods are still sealed and the player is not able to work out how to open them, some have already been opened and are now empty. Although it is somewhat subtle, this is the Narrative Worlds first message to the player that there are other characters to meet. However, as the player explores the building trying to find a way out, there are a number of corpses and signs of damage to the building. This informs the character that there has been some kind of disaster. These elements prompt the player to look for other life as well as discover what has happened. Proceeding through the game, the player discovers the state of their city; damaged and over grown with foliage. Out in the city, there are no sounds of daily life such as cars or even chatter. All that the player can hear are the sounds of nature. Instantly, the player becomes aware that the city has been through some sort of apocalyptic ordeal and has been left abandoned. They are left with the choice of finding other survivors and uncovering the truth about what has happened or to simply accept what is and attempt the challenge of surviving in the world.
“The Villain”
The world is constantly providing challenges against the character and hindering their chances of survival. As time has passed, animals have adapted to the new environment and now roam free amongst the city. As it has been a long time since humans have been around and some animals are naturally aggressive, not all animals will take well to the sight of a human wondering the streets. While some will be docile, others may try to attack and make a meal out of the player.
The landscape and environment is also a hindrance to the player. Unstable terrain obstructs the player from reaching places as well as throwing them off of course. The night-time makes the environment even more so of a challenge. As much as it would benefit the player, it would be inconsistent of the narrative world for there to be working streetlights when there is no one around to maintain the power supply. If the player wants light and warmth at night then they must seek out shelter and battery or fire powered sources, else risk the chance of falling into a pit.
“The Donor and the Helper”
The narrative world is not completely against the player though. It does provide resources for the character as well as gives the character shelter and comfort. Amongst the rubble, the player can find tools and resources like knives, clothes, and food. Natural rivers and wild animals take care of the players’ basic needs and through deeper exploration; the player may discover more substantial aid such as a tool for communicating with the people that escaped the Planet.
Without the world taking up these roles, the character would be aimless. There would be no reason for their action as they would now know where to begin if they are not aware of what their aim is.
Tuesday, 22 November 2011
Presentation
The World as a Character
We need to do a 10 min presentation on coherent worlds.
For my presintation, I'm going to explore The World as a Character.
Looking at what roles the Phyiscal world and its assests plays, and how the world becomes a character in its own right.
Taking notes from the NUCA Lectures; Characters as Functions and Story Worlds as well as Vladimir Propps theory.
Signifiers and Signified.
Using my own game and others as examples of how the world is a character.
Answering three questions of:
Why is the Narrative World a Character?
What role does the Narrative World play?
and
How is the narrative world, as a character, coherent?
We need to do a 10 min presentation on coherent worlds.
For my presintation, I'm going to explore The World as a Character.
Looking at what roles the Phyiscal world and its assests plays, and how the world becomes a character in its own right.
Taking notes from the NUCA Lectures; Characters as Functions and Story Worlds as well as Vladimir Propps theory.
Signifiers and Signified.
Using my own game and others as examples of how the world is a character.
Answering three questions of:
Why is the Narrative World a Character?
What role does the Narrative World play?
and
How is the narrative world, as a character, coherent?
Monday, 21 November 2011
Genre
Within video games, there are two forms of Genre:
The Genre of the style of game; first person shooter, role playing game, puzzle game, etc. and the Genre of the theme, the narration of the game; fantasy, sci-fi, horror, etc.
Knowing and identifying the genre helps us establish the world of the video game and form our basis for what is coherent or not.
The Genre of the style of game; first person shooter, role playing game, puzzle game, etc. and the Genre of the theme, the narration of the game; fantasy, sci-fi, horror, etc.
Knowing and identifying the genre helps us establish the world of the video game and form our basis for what is coherent or not.
Fairy Tales and Vladimir Propp
Examples of Fairy Tales in Video Games:
Vladimir Propp:
Vladimir Propp was a scholar who wrote Morphology of the Folktale.
In his book, Propp breaks fown a large number of Russian folktales and studies the narrative structure. He depicted 31 functions within the fairy tales.
These functions are:
ABSENTATION: A member of a family leaves the security of the home
environment. This may be the hero or some other member of the family that the
hero will later need to rescue. This division of the cohesive family injects
initial tension into the storyline. The hero may also be introduced here, often
being shown as an ordinary person.
INTERDICTION: An interdiction is addressed to the hero ('don't go there',
'don't do this'). The hero is warned against some action (given an
'interdiction').
VIOLATION of INTERDICTION. The interdiction is violated (villain enters the
tale). This generally proves to be a bad move and the villain enters the story,
although not necessarily confronting the hero. Perhaps they are just a lurking
presence or perhaps they attack the family whilst the hero is away.
RECONNAISSANCE: The villain makes an attempt at reconnaissance (either
villain tries to find the children/jewels etc.; or intended victim questions the
villain). The villain (often in disguise) makes an active attempt at seeking
information, for example searching for something valuable or trying to actively
capture someone. They may speak with a member of the family who innocently
divulges information. They may also seek to meet the hero, perhaps knowing
already the hero is special in some way.
DELIVERY: The villain gains information about the victim. The villain's
seeking now pays off and he or she now acquires some form of information, often
about the hero or victim. Other information can be gained, for example about a
map or treasure location.
TRICKERY: The villain attempts to deceive the victim to take possession of
victim or victim's belongings (trickery; villain disguised, tries to win
confidence of victim). The villain now presses further, often using the
information gained in seeking to deceive the hero or victim in some way, perhaps
appearing in disguise. This may include capture of the victim, getting the hero
to give the villain something or persuading them that the villain is actually a
friend and thereby gaining collaboration.
COMPLICITY: Victim taken in by deception, unwittingly helping the enemy. The
trickery of the villain now works and the hero or victim naively acts in a way
that helps the villain. This may range from providing the villain with something
(perhaps a map or magical weapon) to actively working against good people
(perhaps the villain has persuaded the hero that these other people are actually
bad).
VILLAINY or LACK: Villain causes harm/injury to family member (by abduction,
theft of magical agent, spoiling crops, plunders in other forms, causes a
disappearance, expels someone, casts spell on someone, substitutes child etc.,
commits murder, imprisons/detains someone, threatens forced marriage, provides
nightly torments); Alternatively, a member of family lacks something or desires
something (magical potion etc.). There are two options for this function, either
or both of which may appear in the story. In the first option, the villain
causes some kind of harm, for example carrying away a victim or the desired
magical object (which must be then be retrieved). In the second option, a sense
of lack is identified, for example in the hero's family or within a community,
whereby something is identified as lost or something becomes desirable for some
reason, for example a magical object that will save people in some way.
MEDIATION: Misfortune or lack is made known, (hero is dispatched, hears call
for help etc./ alternative is that victimized hero is sent away, freed from
imprisonment). The hero now discovers the act of villainy or lack, perhaps
finding their family or community devastated or caught up in a state of anguish
and woe.
BEGINNING COUNTER-ACTION: Seeker agrees to, or decides upon counter-action.
The hero now decides to act in a way that will resolve the lack, for example
finding a needed magical item, rescuing those who are captured or otherwise
defeating the villain. This is a defining moment for the hero as this is the
decision that sets the course of future actions and by which a previously
ordinary person takes on the mantle of heroism.
DEPARTURE: Hero leaves home;
FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc.,
preparing the way for his/her receiving magical agent or helper (donor);
HERO'S REACTION: Hero reacts to actions of future donor (withstands/fails
the test, frees captive, reconciles disputants, performs service, uses
adversary's powers against him);
RECEIPT OF A MAGICAL AGENT: Hero acquires use of a magical agent (directly
transferred, located, purchased, prepared, spontaneously appears, eaten/drunk,
help offered by other characters);
GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object
of the search;
STRUGGLE: Hero and villain join in direct combat;
BRANDING: Hero is branded (wounded/marked, receives ring or scarf);
VICTORY: Villain is defeated (killed in combat, defeated in contest, killed
while asleep, banished);
LIQUIDATION: Initial misfortune or lack is resolved (object of search
distributed, spell broken, slain person revived, captive freed);
RETURN: Hero returns;
PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
RESCUE: Hero is rescued from pursuit (obstacles delay pursuer, hero hides or
is hidden, hero transforms unrecognisably, hero saved from attempt on his/her
life);
UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
UNFOUNDED CLAIMS: False hero presents unfounded claims;
DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal,
riddles, test of strength/endurance, other tasks);
SOLUTION: Task is resolved;
RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
EXPOSURE: False hero or villain is exposed;
TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome,
new garments etc.);
PUNISHMENT: Villain is punished;
WEDDING: Hero marries and ascends the throne (is rewarded/promoted).
Vladimir Propp also concluded that every character can be placed under
one of eight broader character types, these are:
The Villain – The one who struggles against the Hero.
The Donor – The one who prepares the hero or gives the hero some magical object.
The Helper (magical) – Helps the Hero on the quest
The Princess – The Heros reward for their efforts
Her Father – The one who rewards the Hero
The Dispatcher – The one who sends the hero off on their adventure
The Hero – The one who reacts to the dispatcher and villain.
The False Hero - Disrupts the Hero on their adventure by making false claims.
The Donor – The one who prepares the hero or gives the hero some magical object.
The Helper (magical) – Helps the Hero on the quest
The Princess – The Heros reward for their efforts
Her Father – The one who rewards the Hero
The Dispatcher – The one who sends the hero off on their adventure
The Hero – The one who reacts to the dispatcher and villain.
The False Hero - Disrupts the Hero on their adventure by making false claims.
Monday, 7 November 2011
Coherent Worlds in Films
We were asked to look at openings to certain films analyse how they are coherent.
Blade Runner
- Music from the opening credit sets the mood of suspense, thriller and high tension.
- Short paragraph telling us of the history, letting the viewing know of the war and danger in the world.
- Date and time (L.A 2019) gives a clear setting (The future)
Establishing shot of an industrial city with fire explosions and flying vehicles. (Dangerous and futuristic setting) - Pyramid like city structure possible made of metal? - Pyramids are the places of Kings and signify power. The design and use of metal gives an alien/futuristic look.
- As the dialogue betwen the two characters progresses and we see the one questioned looking confuses, it encites the same sort of emotion.
Gladiator:
- Starts with short text about the Roman Empire: viewer automatically remembers what they know about the Roman Empire and how powerful they were.
- Music is sad, yet warm colours and children laughing:
- Scene suddenly switches to cold colours "Germainia"
Brazil:
- Starts with text "somewhere in the 20th century" with the exact time: like a bomb
- Futuristic music, yet vocally old fashioned to a modern audience
- Sudden explosion on a calm scene (Red Herring): disrupting the peace (terrorism)
- Change of music = sharp and fast, imitates terror
- News report about terrorism: scientist shown to be working, not paying any
- attention to the report. Suggests to the viewer these terrorist attacks are not
- unusual/have been happening for a while
12 Monkeys:
- Text at the beginning sets the scene, futuristic, About paranoia and schizophrenia.
- Psychedelic swirling: disorientation
- Chaotic music
- Flashback of traumatic childhood: Sound of wind gives cold. empty feeling
- Both about Terrorism and set in alternative futures.
Tuesday, 18 October 2011
Coherent Worlds
In contextual studies this term, we are looking at creating Coherent Worlds. The narrative of a game world is as integral as the game play is. If the player does not believe the world as a character, they cannot become as immersed as they should. It was expressed that everything should have its place in the World and if something doesn't seem to fit and there is no clear understanding of why it's there, the World starts to become incoherent.
"The story worlds needs to interact with the story."
Looking back onto my own work for Project 1, my game would be incoherent if, for example, streets lights were on at night. It's a small thing that would benefit the player when moving around at night but at the same time, it would not make sense as the world is uninhabited except for the few people that have awakened from the pods. There would be no one around to maintain the lights and keep the power source running especially due to the floods and other natural disaster.
During the seminar we were asked to discuss a game set in the past and in the future. We looked at L.A Noir and Star Wars: Force Unleashed.
For both games we looked at what it is about the world that is coherent and makes the world believable.
Because the game opens with the text "A long time ago in a galaxy far, far away" we as the audience/player are automatically aware that the game is set in outer space but for those who know the franchise, they know this already. It then goes on to give us a back story against an image of stars. As the the scene continues, we come across a fleet of ships that embark to the planet below and start firing at beings on the surface. We know that they are there to kill a Jedi because of the intro text but if the text was not there, we'd have no idea why the battle is taking place and the reason why we are supposed to be killing the Wookies. This would leave the player aimless and the game incoherent.
Because of the spaceships and the equipment worn, the setting and theme of the game is reinforced as a space/sci-fi film. With a show/film like Firefly/Serenity, when the crew are on planets it sometimes "feels" as though it isn't an outer space set show because of the clothing and buildings have a very outback western style. It is only because of the weapons and vehicles (unless in a built up/advanced city).
"The story worlds needs to interact with the story."
Looking back onto my own work for Project 1, my game would be incoherent if, for example, streets lights were on at night. It's a small thing that would benefit the player when moving around at night but at the same time, it would not make sense as the world is uninhabited except for the few people that have awakened from the pods. There would be no one around to maintain the lights and keep the power source running especially due to the floods and other natural disaster.
During the seminar we were asked to discuss a game set in the past and in the future. We looked at L.A Noir and Star Wars: Force Unleashed.
For both games we looked at what it is about the world that is coherent and makes the world believable.
Because the game opens with the text "A long time ago in a galaxy far, far away" we as the audience/player are automatically aware that the game is set in outer space but for those who know the franchise, they know this already. It then goes on to give us a back story against an image of stars. As the the scene continues, we come across a fleet of ships that embark to the planet below and start firing at beings on the surface. We know that they are there to kill a Jedi because of the intro text but if the text was not there, we'd have no idea why the battle is taking place and the reason why we are supposed to be killing the Wookies. This would leave the player aimless and the game incoherent.
Because of the spaceships and the equipment worn, the setting and theme of the game is reinforced as a space/sci-fi film. With a show/film like Firefly/Serenity, when the crew are on planets it sometimes "feels" as though it isn't an outer space set show because of the clothing and buildings have a very outback western style. It is only because of the weapons and vehicles (unless in a built up/advanced city).
Image course from wikimedia.org
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