AU2008207385B2 - An apparatus and method for evoking a descriptive narrative storyline from a subject person - Google Patents

Description

58368 JOM:VM P/00/009 Regulation 3.2 AUSTRALIA Patents Act 1990 COMPLETE SPECIFICATION FOR A STANDARD PATENT ORIGINAL Name of Applicant: PANNE NOMINEES PTY LTD Actual Inventor: PETER HOWE Address for Service: COLLISON & CO., 117 King William Street, Adelaide, S.A. 5000 Invention Title: AN APPARATUS AND METHOD FOR EVOKING A DESCRIPTIVE NARRATIVE STORYLINE FROM A SUBJECT PERSON Details of Associated Provisional Application: Australian Patent Application No. 2007904392 dated 17 August 2007 The following statement Is a full description of this invention, including the best method of performing it known to us: 2 This invention relates generally to an apparatus and method to evoke or generate a narrative storyline from a subject person such as a child, and more particularly an entertainment come educational product and/or method to help stimulate a child's logical thinking pattern so as to create a descriptive narrative 5 storyline when presented with a sequence of events and/or objects. Over the years there have been a wide variety of products and methods that have become available to help stimulate a child's creative and communication skills in storytelling. Not the least, in early school years and even pre-school, teachers and parents 10 have often used a picture book or cards to aid in the development of the child's association of skill and verbal expression in telling a story. The problem with the use of a picture book is that the storyline is often created by virtue of the visual representation of a person, places and things represented within the book. As the child is presented with the sequence already established 15 it is difficult for them to arrange a pattern or sequence of their own thoughts and developments in order to create their own narrative. Still further, the use of a picture book or the like to conjure up or try and evoke a descriptive narrative storyline from a person, in particular a child, tends to establish, whether artificial or otherwise, a distinction between the picture book 20 reader and the listeners. Arguably, there is no common ground wherein the relationship between the picture book and the child sets up an "us and them" very much like a classroom or educational situation. As introduced above, not only does the picture book or picture card scenario arguably already provide for a storyline, thereby eliminating child stimulation to 25 create their own narrative, it conjures up what one would best consider a learning environment rather than necessarily a fun filled creative experience.

It is well known to most concerned that children and the like tend to become involved in creative thinking when placed in a fun playing environment rather than a traditional come-as-you-will classroom situation. Hence, whilst any apparatus and method to evoke a description storyline from a 5 child would be advantageous, to do so in a friendly, fun filled environment for the child would be exemplary. By being able to stimulate and evoke a descriptive narrative storyline from a child means progressive mind development, which we all know is such an important thing, for maturing children. 10 Still further, as children become more occupied by being permitted unlimited access to electronic media, whether it be through the television, the World Wide Web or other similar broadcasts, visual representations are becoming distorted and the development of confidence, communication skills and ready motor responses are diminishing, as the sequence of creativity in establishing ones 15 own imagery has been withdrawn from a child's mind. As the person skilled in the art will appreciate, the visual sense and perception of actually touching and feeling objects is a dominant part of the conscious state, and the visual impressions and concepts inspired often have a strong association between the reality and the unconscious. 20 Whilst a computer may be able to offer cooperative wording for creating stories through various sophisticated graphic objects, again a user is working with an inanimate object to generate the story. Therefore, there remains a need in the art of evoking a descriptive narrative storyline from a subject person that goes beyond the electronic media and 25 sophisticated graphic objects, as well as beyond the traditional classroom 4 situation of a teacher or instructor prompting a child, whether it be by a picture book or card, to establish a story or otherwise. What is required is a means and method in which to bring children together in a fun-filled environment. A game situation is created where the benefits are s derived in evoking a descriptive narrative storyline from the child, which within the game environment will then lead also into improved communication and confidence skills of the child. Accordingly, there is provided in one form of the invention an apparatus for evoking a descriptive narrative storyline from a subject person, said apparatus 10 including; a formal game setting for two or more players, a control piece permitting a subject person selected from the players to evoke a narrative storyline, a plurality of discrete visual figurines, to which the subject person may is select one or more thereof, a printed publication member selectable from a group of such members, wherein said member printed thereon includes reference to a storyline starting point and/or concept scene to be used in conjunction with the selected figurine, 20 such that once the subject person has been provided with control, selected one or more figurines, and the figurine is placed within a scene and a scenario by the selection of the first and second card-like representations, the subject person is now artificially promoted to present a descriptive narrative storyline by virtue of the contributions of the control piece, figurine and first and 25 second card-like representations within the game environment.

5 In preference the printed publication member includes a first card-like representation selectable from a base group thereof, for establishing a concept scene to which the selected figurine is placed in context. In preference the printed publication member further includes a second card-like 5 representation wherein a starting point for the figurine within a concept scene can be introduced. An advantage of such an arrangement is that by introducing a control piece to the subject person means that the subject person now has the confidence that his or her contributions must now be acknowledged. Whilst the control piece 1o rests with the subject person, they are the ones entitled to evoke the descriptive narrative storyline. Almost in an artificial sense, the control piece conjures up this imaginary of a physical guard, which helps develop the child's confidence, in that those who are part of the game situation on no account can interrupt the subject person 15 who has been issued with the control piece. Hence, in the past when the computer, teacher, parent or instructor took control of the floor simply because of their intellect, physical presence or otherwise, in this game environment all are equal, with every selected subject person playing within this game scenario allowed to have control in creating a narrative 20 storyline. Therefore, once the subject person has control and realises they are in a position to create a descriptive narrative but for whatever reason do not feel confident or developed enough in their responses to create a storyline without further prompting, this problem is overcome by the ability of the subject person 25 to access a figurine to which the visual sense and perception of this object begins to work with the unconsciousness of the subject person.

6 As the person skilled in the art will appreciate, a child has within them the necessary skills and ready motor responses to create a narrative but lacks confidence or the ability to develop those skills. This apparatus evokes an artificial situation which is able to stimulate the child's logical thinking and 5 association of sequencing and presenting events into a storyline which will provide means of a direct improvement of their communication skills, not the least. Advantageously, as the apparatus is utilised within a game environment amongst several individuals, the subject person is developing their intellect and 10 communication skills without even realising it. As history will show, the classroom environment, and even to a certain degree the electronic media based on educational products, has had difficulties in improving mind development because the child finds the learning situation mentally unsatisfactory as the fun has been taken away from the experience. 15 Consequently, many young children who may be extremely bright, imaginative, creative and otherwise ideal storytellers, may often struggle when it is demanded of them to present a story or become involved in a role playing situation. Advantageously, this apparatus is able to stimulate the storyline from the 20 subject person in a fun-filled game environment. Advantageously, the apparatus by virtue of allowing each subject person within the game environment to take control and to create the narrative storyline, a common crowd amongst all those who are playing is established, rather than a separation of the "us and them" type status that one would expect from the 25 classroom situation between a student and teacher or on the desktop between a computer and an operator.

7 Advantageously, this apparatus allows both children and adults to come together at a common level in a friendly, stimulating and creative environment for storytelling. Whilst the apparatus may function as an educational device, as material that 5 can provide story generation, it can do so also in an entertaining setting. As the person skilled in the art can appreciate, the evoking or stimulation of the descriptive narrative storyline would be dependent on the selection of the figurine as well as the first and second card-like representations to introduce the concept scene and a starting point within the scene. 10 Advantageously, if the overall focus of the game was to improve the subject player's familiarity with a particular concept, this could be a complimentary spin off to the benefits of the creative and communicative skill development of the players. For example, suppose the concept associated with water conservation was to 15 be established. Artificially, the general backbone or skeleton of a storyline could be created by introducing figurines and qualifying first and second card-like representations connected with the subject of water conservation. Whilst it is the subject person who is creating or developing the narrative storyline, their thoughts and the imagery are based on tangible real-life 20 figurines, which act with the subconscious. Hence, it is possible to plan out a storyline, which while in a sense has been spontaneously created and then narrated by the subject person, nonetheless with the establishment of this storyline within the backbones created by the figurine and the qualifying card like representations, has taught the subject person about a particular concept.

8 Hence, not only is the subject person's skills and ability in creating a storyline improved, their knowledge of a particular concept can also be enhanced simultaneously within a fun-filled entertainment environment. Without consciously trying to learn, the subject person is in fact developing their 5 real intellect and communication skills and learning about concepts which are more traditionally taught quite often in an unstimulating classroom situation. As the person skilled in the art would also appreciate, this apparatus, with its visual representations and qualifying card-like descriptors could also be used in psychological studies as well as for diagnostic procedures for reviewing 10 unconscious thoughts of a subject person. As the person skilled in the art would appreciate, it is often difficult to have a child or the like express and establish a particular story of a situation that may or was affecting their life or lifestyle. Whilst the imagery is crystal clear within the child's mind, the ability to evoke or 15 stimulate the story from the subject person in many instances can be impossible. Advantageously, by applying the apparatus of this invention, in a very controlled environment, the child believes that they are in fact playing a game and when handed the control piece and then being able to select the figurine along with 2n the prompt cards, the images within their mind are now in a real tangible sense exposed in a backbone structure to the outside world. They are now then able to evoke or stimulate within themselves a descriptive narrative to explain in detail the story that is involved within their life or lifestyle. The figurines and card-like representations can be qualified very carefully and 25 presented to the subject person under controlled situations. Hence, whilst it is the subject person who is creating the descriptive narrative of the storyline, in 9 fact the storyline is controlled by virtue of the selection of the figurines and prompt cards. In a sense, the apparatus and game situation creates almost an artificial real-life situation which no doubt affects the unconsciousness of the child being psychologically examined. 5 In order to describe the invention in greater detail, the following preferred embodiments and illustrations will be used to show various forms of the invention. Nonetheless, the preferred embodiments are just that, preferred embodiments of a much more broad and general concept and therefore should be interpreted as such. 10 Figures 1 a and 1 b show a representation of a game environment whereby players are brought together to allow a subject person the chance to evoke a description narrative storyline. Figures 2a, 2b and 2c present various ways in which the overall scene concept of the narrative storyline can be presented or controlled. For example, in Figure 15 2a, a representation is shown of a randomly generated concept scene in the storyline, whereas Figures 2b and 2c have specific orientated themes to which the descriptive narrative storyline will be derived from. Figure 3 is a flowchart diagram outlining the various steps involved in evoking the descriptive narrative storyline from the subject person within a game-type 20 environment. Referring to the drawings now in greater detail, and firstly to Figures 1 a and 1b where therein provided is an apparatus 10, which is designed to evoke a descriptive narrative storyline from a subject person taking part in the general game environment. 25 In this preferred embodiment, the game environment is created by a series of players referenced as 12, 24, 26 and 28, around a table.

10 The apparatus includes a container, which in this embodiment is a bag 16 full of figurines, which in Figure 1 a shows one such figurine 22, being a plane withdrawn from the bag 16 by player 12. Player 12, by virtue of being presented with a control piece 14, is permitted 5 within the game environment to be at that moment in time the person from whom the descriptive narrative storyline will be evoked from. The control piece 14 is presented to the subject person 12, for example, by way of each of the players rolling a dice, of which the highest value return presents the control piece 14, to the first subject person from whom the descriptive 10 narrative storyline will be derived from. Nonetheless, as the person skilled in the art will appreciate, there is a variety of ways in which the first subject person can be chosen from the field of players within the game environment. Whether it be rolled dice, drawn sticks, random verbal numbering, rock, paper 15 and scissors or the like, what is important is that to start the game one of the players is presented with the central control piece 14. This control piece 14 signifies to all the other players that the subject person, given that they are in possession of the control piece, has, as one may put it in a colloquial sense, "control of the floor" The other players now must remain silent as the subject 20 person 12 in possession of the control piece starts the game. As can be seen, rather than having the instructor or teacher telling the players what to do, the pieces themselves making up this apparatus create the required playing field. Hence, each of the players come together on common ground without one particular player having dominance or otherwise over an adjacent 25 player.

11 It is the control piece which affords a moment of time for the subject person to create the necessary scene by playing the game which thereinafter stimulates or evokes the necessary descriptive narrative storyline which while in itself is a simple game playing situation, within the subconsciousness of the subject 5 person allows them to develop and improve both their intellect, confidence and communication skills. Once the subject person 12 has acquired the control piece 14, they then are permitted to access the figurines 17 contained within the bag of objects 16 presented as part of this arrangement. 10 As shown in Figure 1 a, the subject person has in this instance withdrawn from bag 16 the figurine of a plane, which has been identified by number 22. Already, with the acquired confidence created by being presented with the control piece, the subject person can begin to in a real sense to visually sense and perceive an object by taking the 3-dimensional article. Unlike a picture 15 book, picture card or computer screen, no amount of clever sophisticated graphics can create a tangible object such as the subject person 12 being able to hold within their hand the selected figurine or object. Nonetheless, the withdrawing of the figurine, this being the plane 22 in this instance, is only part of the backbone or skeleton of the storyline, which can be 20 presented by this apparatus to evoke the necessary descriptive narrative storyline from the subject person. In order to assist the subject person further in prompting them to present a descriptive narrative storyline, the use of the figurine of the plane 22 is then modified further by the subject person 12 through selecting a first card-like 25 representation selected from a group of cards piled at 18, to which this first card will provide information of a concept scene to which the selected figurine of the plane 22 belongs in, such as to place the figurine 22 in the context of a scene.

12 After selecting this first card-like representation the user is then permitted to select a second card-like representation from a group of cards piled at 20, whereby the concept scene is then modified further by the detailing of a starting point or the like for the storyline. 5 As the person skilled in the art will appreciate, what is being created here is first of all a game-type environment whereby players, for example young children, are brought together in an entertaining environment rather than for the sole purpose of education or mind development. Nonetheless, as introduced above and also to follow herewith, this particular apparatus by design creates a fun 1n filled game environment for players which at the same time during play provides improved intellect, communication skills and confidence building for the subject players. With a fun environment created by a game situation, with control given to the subject person by virtue of a control piece 14 to give the necessary subject 15 person the confidence to present a storyline and the control to stop other players interrupting any narrative to be evoked, the subject person is further in a way almost artificially assisted by the creation of a backbone or skeleton type story scenario through the use or the permission within the game for the subject person to access first of all the figurine and then two qualifying card-like 20 representations to create a concept scene and a starting point of the storyline. Advantageously, the subject person has the necessary confidence because they know that by virtue of the game rules, given the subject person is in possession of the control piece, others must listen and watch the narrative unfold. 25 Whilst to a degree players may have their own imagination and be bright enough to create a narrative, because of lack of confidence or otherwise it is often difficult to get subconscious thoughts out to be expressed within the real world. Advantageously however, the use of the figurines and qualifying 13 information cards allows the creation or the stimulation of the descriptive narrative storyline to come from the subject person. As shown in Figure 1 b, the control piece 14 can then be passed on to the next player 24. The next player 24 becomes the new subject person wherein they 5 will be then permitted to withdraw one of the figurines 17 from the bag 16. In this instance, a toy miniature telescope 25 is withdrawn from the bag 16. The subject player 24 can now in a visual sense begin to conjure up imagery, which then is placed in context by taking access of the first card-like representation to set a concept scene, which then is modified by the selection of 10 a second card-like representation to provide a starting point for the figurine within the concept scene. As to be expected, the new subject person 24 has the necessary confidence by virtue of the acquiring of the control piece 14, and with the backbone of a story provided for by the figurine 25 and the qualification by the first and second card 15 like representations 18, and 20, the requirements are set for evoking a descriptive narrative storyline from the new subject person. Further aspects of the game are discussed and the conclusion thereof when Figure 3 is detailed. Figures 2a, 2b and 2c simply show in a caricature sense the varieties of 20 different ways in which the apparatus within the game environment can be presented. In many instances there will be no requirement to create a general concept theme or overriding message of the game to be played by the players. The figurines 38 inside the bag 34 in the case of Figure 2a are simply random and 25 have no direct association or overlap. The control piece 26 is also not directly related to the figurines contained within the bag. The first and second card-like 14 representations 18,20 providing information on the concept scene and the storyline are also not necessarily fixed in content, This type of preferred embodiment of the game leaves more to the player's imagination by developing or evoking the various descriptive narrative storyline required as part of the 5 game from scratch or no one particular direction. Nonetheless, the essential aspects of the invention remain faithful. That being, there is a control piece giving the subject person the control of the floor, so to speak, and with this confidence of having control within the game without any detriment to any of the other players, the subject person is then allowed to take 10 a figurine from the bag and put this figurine inside a scene with a starting storyline. As the person skilled in the art would appreciate there are literally scores of ways in which the invention can be presented in its final form, other than just the one preferred embodiment described here. 15 For example, in some embodiments, once the game has commenced and the first player has selected a figurine and the card selections for qualifying the figurine within the context of a 'set scene' and 'starting point', the next player once selecting their own figurine from the bag, need not necessarily then also have to make a card selection. 20 The reason being is that in this format on the invention the storyline and concept has already been established by the first player. The second player is simply continuing on the same storyline in the context of their selected figurine. Figures 2b and 2c show more specific presentations of the apparatus whereby an overriding theme is also provided for within the game environment. 25 For example, in Figure 2b a pirate scene is created whereby a treasure box 44 acts as the container for lots of different figurines 42, associated with this 15 general pirate theme. The control piece could be a pirate king or ship's master as shown at 40. Nonetheless, the container would still access similar first and second card-like representations, but such card-like representations 18, 20, would be detailed or have listings more akin to scenarios that fit well with pirate 5 or sea situations. The use of the theme concepts can either reinforce general imagery, or alternatively even enhance the entertainment aspect, as it is well known children seem to have an affiliation or greater affection for certain toys or themes compared to others, 10 Figure 2c shows perhaps a greater focus on a concept, which can have an overriding educational significance. In this embodiment the container for the figurines 48 is shown as a water tank 46 with the figurines 48 inside the water tank 46 all associated with water and the recycling thereof. 15 The control piece is a water droplet 50. Once again within the container there would also be access to the first and second card-like representation 18,20 which could be placed on the table when the game is to commence so that the various aspects of the theme associated with water recycling could be focussed in order to direct the unconscious imagination of the subject person as they 20 begin to evoke from their minds the descriptive narrative storyline associated with the withdrawn figuring and the qualifying first and second card-like representations 18,20. Figure 3 is more a summary of the preceding discussions but as detailed, player order 51 can be achieved by a variety of methods, not the least rolled dice, 25 sticks drawn, random selection and the like, shown at 56.

16 The control piece 52 signifies which player has control of the game at that particular point in time to establish their descriptive narrative storyline. Once control has been given to a particular player 54, a figurine may be withdrawn 60. The character piece 58 may be withdrawn from a bag, box, container or the 5 like. Once the figurine has been withdrawn, card selections 64 are made from card A and card B, to which various concept scenes and a starting point 62, 45 can be introduced. With the subject person having in their possession a figurine as well as card A 10 and card B representations, an artificial environment 70 is created to which the descriptive narrative storyline 68 can commence. A time interval 74, is provided for to allow the subject person to narrate their evoked storyline, of which such time interval can be determined through the use of various devices, 72. Once the narrative has been completed by the culmination of the time interval, 15 transfer of the control piece 76 is then moved on to the next player 78 for the process to start again. As shown by the broken line 66 card selection 64 can be bi-passed and as introduced above in some embodiments once the game has commenced and the first player has selected a figurine and the card selections for qualifying the 20 figurine within the context of a 'set scene' and 'starting point', the next player once selecting their own figurine from the bag, need not necessarily then also have to make a card selection. The second player and those thereafter are simply continuing on the same storyline in the context of their selected figurine. Once the control piece 76 has been transferred to each player, the narrative 25 can conclude 80 by going to a selected player, which in some instances may be an instructor or adult person, whereby some conclusion and overriding theme can be reinforced if that was one of the purposes of creating the game.

Claims (8)

1. An apparatus for evoking a descriptive narrative storyline from a subject person, said apparatus including; a formal game setting for two or more players, 5 a control piece permitting a subject person from one of the players to evoke a narrative storyline, wherein the control piece signifies to all the other players that the subject player who has the control piece, has control of the game and that the remaining players now must remain silent as the subject player in possession of the control piece so as to start the game or commence 10 his or her narrative, a plurality of discrete visual figurines, to which the subject person may select one or more thereof, a printed publication member selectable from a group of such members, 15 wherein said member printed thereon includes reference to a storyline starting point and/or concept scene to be used in conjunction with the selected figurine, such that once the subject person has been provided with control, selected one or more figurines, and the figurine is placed within a scene and a scenario by the selection of a first and a second card-like representations, the 20 subject person is now artificially promoted to present a descriptive narrative storyline by virtue of the contributions of the control piece, figurine and first and second card-like representations within the game environment.

2. The apparatus of claim 1 wherein the printed publication member includes the first card-like representation selectable from a base group thereof, 18 for establishing a concept scene to which the selected figurine is placed in context.

3. The apparatus of claim 2 wherein the printed publication member further includes the second card-like representation wherein a starting point for the 5 figurine within a concept scene can be introduced.

4. The apparatus of claim 3 wherein the formal game environment has a series of at least 3 players in a substantially circular orientation.

5. The apparatus of any one of the preceding claims further including a bag to which the figurines are contained therein and withdrawn from said bag by a 10 player when the game is in progress.

6. The apparatus of any one of the preceding claims wherein the control piece is selectable or given to a player

7. The apparatus of claim 6 wherein the control piece is selectable to a player who rolls the highest dice, draws the shortest or longest straw, random 15 verbal numbering selection, or rock paper scissors.

8. The apparatus of claim 7 wherein once a player has acquired the control piece, they then are permitted to withdraw a figurine contained within the bag.