Guess what, y’all. That paper I was working on so hard for class turned out awesome.
The Virgin’s Coffin:
Snow White, the Brothers Grimm, and Appropriation
In the tradition of early Christian martyrdom, “virginity could be the equal of any martyr’s death, signalling one of the most persistent themes in female spirituality” (Rubin, 156). All a woman had to do to be considered a martyr was 1- be Christian, 2- be a virgin, and 3- die. Snow white became a martyr when the Brothers Grimm turned her into one. They took fragments of secular and pagan stories passed down through the oral tradition, fused them together with additions of their own invention, and created a seamless narrative of a virgin’s persecution, temptation, death, and resurrection. The story remains so embedded in our cultural consciousness that even two hundred years later we continue to reinvent and reclaim Snow White, taking a passive Christian martyr and re-appropriating her into a secular hero martyr. From the Grimms to Disney to contemporary filmmakers, the way we choose to tell the story of “Snow White” becomes a reflection of our own cultural narrative.
1. The Brothers Grimm
The Brothers Grimm did not, of course, invent the story of Snow White nor any of the others in their collection of fairy tales, the Kinder- und Hausmärchen (KHM) or Children’s and Household Tales. Born in 1785 and 1786 respectively, Jacob and Wilhelm were born in the Hesse region of Germany and grew up to study philology, linguistics, law, and folklore. This was a critical time in Germany, which underwent political upheaval in the early nineteenth century with the overthrow of Napoleon’s forces and the struggle for democracy and identity as a new nation-state. This was also the era of the great German thinkers such as Goethe, Schiller, Kant, and Hegel, “that great and formative age for the development of modern German thought, culture, and education: the last four decades of the eighteenth century and the first decade of the nineteenth” (Smith, 126-7). Romanticism was “a middle-class, pan-European reaction against the ideas of the Enlightenment” (Paradiž, 19) which emphasized a revitalization of the spirit of the past, native language and history, and an idealization of the simple Volk (folk). “Native folklore was to be the ‘healing power’ for the nation, a remedy for spiritual recovery and creative strength” (Kamenetsky, 25). This idealism of the past and the purity of the Volk were a crucial aspect of the Grimms’ personal motivation for the decades of work that went into the KHM. “Broadly speaking, the Grimms sought to preserve all kinds of ancient relics as if they were sacred and precious gems that originated naturally from the soil. In their minds, the tales, myths, songs, fables, legends, epics, riddles, and other narratives that emanated from the voices of the common people contained deeper meanings than so-called educated people realized” (Zipes, xix). The Grimms saw their work as not just a cultural but a spiritual duty.
The majority of Germans belonged to either the Protestant or Reformed Church, and the culture was steeped in the ideals of Martin Luther. In his book The Owl, the Raven & the Dove: The Religious Meaning of the Grimms’ Magic Fairy Tales, Ronald G. Murphy examines the personal spirituality of the Grimms in great detail.
The brothers Grimm thought of fairy tales as remnant of ancient faith expressed in poetry. Through all the revisions of their collections of tales, their preface always begins with a description of gleaning, a biblical image recalling the command that the poor are not to be prevented from gathering the remnants that survive the harvest or the storm, nor the grain that has grown unnoticed by the hedgerow or the roadside… The brothers stated that their book consists of stories which are precious crumbs of ancient faith, gleaned wheat, made into bread, and that they wished to place it only into benevolent hands which have the power to bless, hoping that these “breadcrumbs of poetry” will never come to the attention of those who would withhold them from the poor. (Murphy, 3)
The irony here is that the Grimms never actually worked with the Volk in the process of collecting these tales, so any representative voice of the poor is absent in their work. The poor are supposed to be the ones gleaning the forgotten wheat, but the brothers took that responsibility upon themselves, middle-class and educated young men, trying represent the interests of a population to which they did not belong and which they did not include.
Even more popular than the myth of the Grimms as the original authors of the tales “is the long-standing myth of the brothers’ travels through the countryside, village to village, transcribing stories told to them by farmers and peasants,” writes Valerie Paradiž.
Jacob and Wilhelm are themselves responsible, at least in part, for perpetuating that image. Though they never directly claimed to have worked in this fashion, they unwittingly created a romantic conceit about their process by hiding the identities of their most crucial collaborators … These contributors were neither commoners nor peasants … they were educated ladies. (xi)
The Grimms started by writing down the stories they remembered from their own childhoods, then proceeded to collect stories from their family and friends, mainly the ladies of the Wild and Hassenpflug families.
Storytelling was not only a common pastime for these women, but a crucial tool for exploring their place in the world. Folktales told of rites of passage, showed the types of villains one might encounter, and warned what would happen to those who transgress against the rules. “Indeed, many of the Grimms’ fairy tales dole out pedantic lessons in feminine virtue and appropriateness. The means of enforcement are often astonishingly violent” (Paradiž, 53). The story of “Snow White” in particular “silently points to the conditions of women’s socialization, to the cultural context which frames that very process of development, defining and legitimizing it, while simultaneously setting stifling boundaries for it … The Grimm version … is grounded in the nineteenth-century European dominant discourse about women and the bourgeois cult of domesticity” (Bacchilega, 3). Understandably, many modern scholars have interpreted the Grimms’ fairy tales as anti-feminist, but this is a simplistic view that does not take into account the women who were the major proliferators of oral folktales. They used storytelling as a covert instruction manual for behavior in order to survive in patriarchal nineteenth-century Europe.
The contributions of these women, unfortunately, went unsung. “When volume one of the Children’s and Household Fairy Taleswas published in 1812, Jacob and Wilhelm didn’t credit their female sources by name. Instead, they celebrated, in the foreword to the anthology, the nameless, poetic soul of German culture and its legions of ‘simple folk’ who had passed the tales down through the ages” (Paradiž, xiv). In sum, women contributed to the process but received no credit, while the poor Volk received credit but made no contribution.
After collection, the Grimms proceeded to stamp the tales with their own voices, especially Wilhelm, who was chiefly responsible for the editing process. The stories in the KHM underwent vast changes, both from source to manuscript and from the first edition (1812) to the seventh (1857, now considered the standard). The project was inspired by a collaboration with Clemens Brentano and Achim von Arnim, to which the Grimms contributed only a few folk songs.
Although the brothers disapproved of the poetic license Brentano appeared to be taking in his adaptations, they, too, would alter, especially in later editions of the fairy tales, the transcriptions they had collected from their women friends. But though they edited and cultivated the stories, to use Jacob’s words, to suit the tastes of modern, educated readers in the nineteenth century, they nonetheless continued to perpetuate the myth of accurately preserving the past by keeping the narrative style simple and the language folksy. (Paradiž, 61-2)
Some of the stories remained fairly constant from edition to edition with only minor changes. Others, including the tale of Schneewittchen (Snow White), had more drastic alterations. This earned the Grimms serious criticism from some modern folklorists, especially John Ellis in his book One Fairy Story Too Many: The Brothers Grimm and Their Tales. He casts himself in the role of dutiful whistleblower exposing a pair of charlatans. Ellis claims, “It is very hard to imagine that they could have been unaware of the discrepancy between their insistence on authenticity, on the one hand, and their disregard for it in these actions, on the other” (93). Jack Zipes, another Grimms expert and translator of the tales into English, disagrees:
The Grimms thought that the “slight” changes they made in the tales did not make much of a difference … Due to their extensive work as philologists, they firmly believed that they could cobble variants together to bring out the profound essence of the tales … Yet the Grimms were somewhat ingenuous in thinking that their changes did not alter the meanings of the tales, and that their high German could simulate the dialects and reinvigorate the blunt and colorful styles of diverse storytellers. (xxvii)
Zipes concludes that the Grimms could have better defended themselves from critics if they had acknowledged that their stories were actually new tales, continuing the tradition of storytelling through the medium of print.
The wide discrepancy between the Grimms’ ideals and their practice can be explained by the fact that their sense of loyalty to their work was based in what they considered the “essence” of the stories, rather than their exact wording (Kamenetsky, 163). The brothers saw their changes as harmless because there was no author of either oral or written stories who could claim ownership of any tale. “The general public did not distinguish between oral narrator and tale writer and regarded published stories as common property free for anyone to change” (Dégh, 69-70), therefore the Grimms would have felt no qualms about altering their material, even those they took from previously printed sources.
Faith also played a role in the Grimms’ editing process. “The challenge which Wilhelm faced was how to revive the religious feelings in fragmented ancient pagan stories in such a way that they would elicit a religious reaction of the heart of Christian contemporaries” (Murphy, 7), which he happily did. Wilhelm saw the changes he made as not just harmless but necessary.
As previously discussed, strong patriarchal themes were already present in the tales, but the Grimms, whether consciously or not, enhanced them. In Grimms’ Bad Girls and Bold Boys; The Moral and Social Vision of the Tales, Ruth Bottigheimer illustrates how “male protagonists usually got away with devious behavior, such as lying, cheating, and stealing (as did Bruder Lustig), yet the female protagonists were caught in their dishonesty and literally ‘ended up in nail-studded barrels.’ She felt that, with few exceptions, the Grimms’ folktales portrayed women as mute and passive victims dominated by circumstance, a perverted one-sided system of justice, or a powerful male figure (king, prince, or father)” (Kamenetsky, 281). The Grimms also used their own moral outlook in widening the disparity of how good and evil characters are treated in the stories: “the innocent are treated more gently, but the evil or guilty are punished even more brutally” (Ellis, 79). Like all artists, the Grimms stamped their work with their own personal and cultural biases.
Despite modern criticisms, many folklorists still praise the Grimms for their innovation and devotion to preserving these relics of the past. In my research, I have come to see the Grimms neither as pure loyalists to tradition nor as unscrupulous frauds but as flawed human men, enthusiastic but oblivious. They are the picture of unexamined privilege: male, white, Christian, middle class, and well educated. It would never have occurred to them to stop and wonder what the implications and long-terms effects of the changes might be. What the Grimms saw as the “essence” of a story may have been completely different than those of the women who supplied the it or the poor Volk whom the Grimms claimed to represent. Nothing is known of how they might have objected to the brothers’ appropriations. For better or worse, the changes were made, the stories were published, and the KHM went on to sell second only to the Bible in the Western world.
2. Snow White
“Snow White” is among the stories in the KHMthat the Grimms changed dramatically from the original sources (Ellis, 74). This is partly because the several variations of the tale that the brothers collected were so disparate that there was no way to select one as “authentic” or “original.” Instead, the Grimms patched together their favorite bits, added some of their own inventions, and ended up with a tidy Christian fable.
One of the major changes the Grimms brought to the final version was the substitution of stepmother for mother. In the first edition, it was Snow White’s biological mother who is envious of her daughter’s beauty, which tells an entirely different thematic story than the one we are used to. Ellis describes it as
a dramatic version of mother-daughter rivalry and sexual jealousy, in which the older woman, at first identifying with the flesh of her flesh, later sees herself eclipsed by a younger woman who is really a separate person and thus a rival. The daughter’s active participation in the rivalry is more than hinted at; for it is at her wedding—the celebration of her own beauty and sexuality—that her mother is put to death in grisly fashion, being forced to dance in red-hot shoes until she drops dead. Thus, she is destroyed at the very celebration of her daughter’s sexual power. (74)
This theme of rivalry is especially true in the first edition, before the change was made, because it is Snow White’s father, not the prince, who rescues her, thus reinforcing the “competition for the affection of the father/husband” (Ellis, 76). By replacing the mother with a stepmother, the Grimms turned the story of a child’s self-actualization to one of Good vs. Evil: “In masculine psychology the stepmother is a symbol of the unconscious in its destructive role—of its disturbing and devouring character” (von Franz, 120). The story of “Hansel and Gretel” suffered an identical change, indicating that the Grimms were bowing to the social pressures of their time and culture, which held motherhood as sacred (Murphy, 124). Turning the wicked mothers into wicked stepmothers provided an acceptable distance between the heroes and their villains.
The story opens with the vivid imagery of three colors: the good queen wishes for a child as red as blood, as white as snow, and as black as ebony. These colors crop up in similar stories of initiation around the world: “Historians of religion and anthropologists tell us that white, red, and black are the colors which accompany initiation, the process of becoming a whole human being, and the child is given the parts of white, red, and black to mark her potential” (Bacchilega, 4). In earlier versions of the story, the Grimms explicitly listed these as physical qualities—lips/cheeks, skin, and eyes/hair. In the seventh edition, these physical traits were not mentioned, the ambiguity indicating that these colors are both literal and metaphorical. They represent the personal qualities that the queen desires in her child: red, warm and loving; white, innocent and faithful; black, humble and connected to the dark earth and mortality (Murphy, 123). The colors become the first indicator that the story has been given a decidedly Christian flavor; Snow White’s true beauty is not in her physical appearance but in her soul.
Snow White is driven out by her vain and jealous stepmother, who tells the huntsman to kill the child and bring back her liver and lungs for the queen to eat (Grimm, 197). Because Snow White is so beautiful (and therefore pure of soul), the huntsman cannot bring himself to kill her. This is another Grimm addition to the story, but “the episode of the huntsman is reminiscent of similar themes of the ‘compassionate executioner’” (Girardot, 289) found not only in other fairy tales but the stories of saints and martyrs. Snow White flees into the forest, the traditional setting in fairy tales for the testing grounds where trials are faced (Murphy, 126). The gatekeepers to this realm are the seven dwarves, monk-like in their compassion, industriousness, hermitic celibacy, and morality (Murphy, 128). They take in Snow White if she agrees to keep house for them, and they serve as the voice of reason in repeatedly warning her to beware of her stepmother.
In a story that is now no longer a coming-of-age but one of Good vs. Evil, the wicked queen has become Lucifer, who fell from Heaven “because of his infatuation with his own beauty and his refusal to accept that anyone else was ‘the most beautiful in the land’ … Lucifer tempts human beings out of jealousy… and he always tempts with some form of the same temptation to self-infatuation to which he himself succumbed” (Murphy, 126). So too does the stepmother tempt Snow White with beauty and vanity: first with colorful corset stays, then with a beautiful comb, and finally with the iconic poisoned apple, which, like Snow White herself, is beautiful and “white with red cheeks” (Grimm, 201). “In the three ordeals the stepmother sequentially attacks the white (breath), black (hair), and red (apple-blood) elements of Snow White’s nature” (Girardot, 291), the virtues of her soul that set her apart from stepmother who sees her own worth as purely physical. There is also the parallel “of the apple with the fruit of earthly desires in the Biblical garden of paradise which brings death into the world but at the same time makes Adam and Eve aware of their sexuality and godlike power to create new life” (292). Snow White’s temptation is not a mere apple, but all the apple represents—beauty and sexuality (and therefore vanity and lust).
Snow White succumbs to temptation in all three trials—not out of perversity or unquenchable female curiosity, like Bluebeard’s wife in another Grimm tale, but out of her naive belief in the goodness of people; the simple peasant woman offering her these gifts could not be evil (Murphy, 127). Because of her innocence and purity of faith, Snow White is not cruelly punished like many fairy tale “bad girls” but merely falls into a sleep-like death that will eventually be lifted.
In further evidence of the religious tone of the story, the dwarfs wash Snow White’s body with water and wine, and all work stops for three days while they mourn (Murphy, 128). Here it is helpful to examine the symbolism present in the illustration (medium unknown, but most likely an etching) by Ludwig Emil Grimm, one of the younger brothers of Jacob and Wilhelm, for the 1825 “Little Edition” of the KHM. The image shows Snow White in the glass coffin that the dwarfs have fashioned for her, placed on top of a mountain, and guarded by one of the dwarfs and three birds: an owl, a raven, and a dove.
Upon her death, Snow White is only seven years old (another detail added by the Grimms). When she begins to display the troubling tendency of giving in to temptation, she is put safely away until the danger is over. “The implication is that as Snow White lay deathlike in the crystal coffin for a ‘long, long time,’ she was of marriageable age at the end of the story—that is, she was around fourteen years old, or seven years beyond the age of seven” (Girardot, 283). If glass is a symbol of virginity (Faur, 27 Oct 2014), Snow White’s identity as a virgin is imposed upon her in the form of the glass coffin. She is trapped—literally by the glass coffin and figuratively by her identity as a virgin—until the dangerous time of adolescence has passed.
In example after example of Christian female martyrs, their “purity” is lauded as their most important virtue: Saint Lucy, Saint Agnes, Saint Agatha, the Virgin of Antioch (no name needed, apparently; her virginity is her identity), Saint Apollonia, Saint Margaret, and Saint Christina. It is a disturbing trend that the purity of these women’s faith is conflated with the purity of their bodies: “that the blessed virgin Lucy possessed the beauty of virginity without trace of corruption; that she radiated charity without any impure love; her progress toward God was straight and without deviation” (de Voragine, 27). So too is Snow White pure in body and soul, remaining true to the colors that define her: red/loving, white/innocent, and black/humble.
In death, Snow White’s body remains whole, pure and beautiful, suffering from no decay, which is consistent with other female Christian martyrs: “By the early modern period, incorruptibility of the whole cadaver or of a part (that is, remaining lifelike, supple, and without decay for decades after burial) was reported for almost every woman proposed for canonization” (Bynum, 70). Because Snow White is a virgin and pure of heart, her body remains whole in order to be ready for resurrection.
The dwarfs take turns watching over the body of Snow White, but she is also guarded by three surprising figures: an owl, a raven, and a dove. The symbolism here is threefold. First, it is a repetition of the three colors that represent the virtues of Snow White’s soul: the reddish-brown owl, the black raven, and the white dove. Second, they are a nod to Wilhelm Grimm’s belief in the universal truths found in pre-Christian religions: the owl for Athena and the classic beliefs, the raven for the old Norse-Germanic beliefs, and the dove for Christianity. Third, they are the ever-present Holy Spirit that stay with Snow White until the arrival of the Son and Father (Murphy, 131).
The final and perhaps most important addition by the Grimms is Snow White’s rescue and resurrection by the prince. Because Walt Disney’s adaptation of the story is so deeply lodged in our minds, most people are surprised to discover that in the Grimms’ final version Snow White is not awoken by the prince’s kiss. When the prince’s servants carry the coffin away, one stumbles, and the bite of poisoned apple falls from Snow White’s mouth. In Disney’s version, the prince and Snow White have already met and fallen in love. In the Grimms’ version, the prince sees Snow White for the first time when she is dead in her coffin; if the prince is merely a mortal man, the story wanders into the dangerously gruesome realm of implied necrophilia. Wilhelm Grimm wanted to stir the hearts, not chill the blood, of his readers. The Christ-like prince finds Snow White preserved in her virginal state, sees the worthiness of her beauty/soul, and enables her resurrection, telling her that he will take her to “my father’s castle” to “be my wife” (Grimm, 204). According to medieval writers, “a death to sexual reproductive life was inverted into a life in Christ as his special bride, and the late medieval authors likened the choice of a life of virginity to a death and rebirth as Christ’s bride” (Rubin, 156). If the prince were an ordinary man, Snow White would not have retained her purity in marriage. Instead, like a nun, she has become the bride of Christ.
Throughout the various editions of the KHM, the manner of the wicked queen’s death in “Snow White” remains the same. At the wedding of Snow White and the prince, the queen is made to put on red-hot iron shoes and “dance until she fell down dead” (Grimm, 204). This “recalls folk practices of destroying a witch through the magic agency of iron. There are also associations of slippers and shoes with the female sexual organs which, as expressive of the egocentric overestimation of the physical dimension of human nature, represent the root of the stepmother’s evil” (Girardot, 297). True to fairy tale style and the Grimms’ polarized views in doling out justice, the villain suffers a grisly death and the heroine claims her Happily Ever After.
3. Beyond the Grimms: Contemporary Re-appropriation
The fairy tale collection of the Brothers Grimm has remained hugely influential in the Western world for the past two hundred years. Adaptations appear in every conceivable medium, and “their success attests that the popular audience has internalized these formulas” (Dégh, 84-5). These retellings, often branching off into various subgenres and straying far from the “original” versions, have prompted certain critics to mourn the loss of the alleged purity of the Grimms’ collection.
In his article “Yours, Mine, or Ours? Perrault, the Brothers Grimm, and the Ownership of Fairy Tales,” Donald Haase tackles the question of the ownership of fairy tales, debunking two popular myths in the process: nationalism and universalism. The Grimms’ tales are not purely German, for their sources can be traced back to French, Norse, and other European roots (385-6). The stories also cannot truly be called universal in nature, since the Grimms unconsciously wove in their own moral outlook. What psychologist Bruno Bettelheim (author of the renowned book The Uses of Enchantment) saw as universal truths were in fact the authoritarian, patriarchal values of Europe at the time of the Grimms—very similar, in fact, to Bettelheim’s own personal values (392).
So if the Grimm fairy tales are neither national nor universal, to whom do they belong? “To be blunt: I do. And you do … We claim fairy tales in every individual act of telling and reading” (395). Fairy tales have no pure, original, incorruptible source. They have been undergoing a process of individual appropriation since the words “glass” and “coffin” were first put together. The Grimms’ tales are not holy texts to be preserved from sacrilege. Some scholars have attempted to do so, but this results in a sterile picture devoid of meaning. It is through this process of individual reclamation and appropriation that fairy tales regain their meaning—the meaning we give them.
This is exactly what Western culture has done over and over again. The 1937 film adaptation by Walt Disney might almost be more deeply imbedded in modern American psyches than the Grimm version. Countless advertising and merchandising dollars over the past century ensured that Disney’s version not only became but stayed the new dominant narrative, the ultimate authority on Snow White. But Walt Disney was no less a product of his time than the Grimms. He downplayed the Christian symbolism in the story, but it is still present, especially in the final shot when the prince’s castle appears “not on the horizon as one might expect in a Disney film, but high above and ahead of the prince and his bride, radiant in the sky … like a golden city made of sunlight” (Murphy, 4). Disney gave us the sweetness of a happily ever after romance, a narrative produced and consumed en masse in Depression-era cinema.
Since then, however, we have not been content with Snow White as the docile and demure damsel in distress. Modern feminism demands more of its heroines, as seen in the influx of Snow White retellings in the past few years. In the ABC series Once Upon a Time (2011-present), this new Snow White is “spunky yet vulnerable” (Tatar), armed with a bow and a complicated backstory. Another example is the 2012 film Snow White and the Huntsman, “reconceived to appeal to an audience partial to high-decibel special effects … Like all fairy-tale adaptations, it also operates like a magnet, picking up relevant bits and pieces of the culture that is recycling the tale” (Tatar). Once again we see a Snow White who is strong and inspiring, who “channels Joan of Arc” (Fricke; Tatar) and leads an army to reclaim her kingdom. A lesser-known version is another film in 2012 called Mirror Mirror, in which Snow White avoids death altogether by seeing through the poisoned-apple trick and outsmarting the wicked queen.
In most contemporary adaptations, the powerful fairy tale images remain—the magic mirror, the poisoned apple, the glass coffin, and the resurrection by true love’s kiss. But Snow White is no longer the Grimms’ one-dimensional archetype nor Disney’s vapid and saccharine maiden. We have given her what the Grimms never did: a personality, a purpose, and a weapon.
The Brothers Grimm were another link in this endless chain, creating their own adaptation for their own purposes. Their failure, however, was in being oblivious to the larger implications of the choices they made. No fairy tale adaptation exists in a vacuum. Every story or piece of art is part of the greater narrative of how we represent martyrs, women, and other oppressed peoples. The artist has a responsibility to the truth as they see it, but the work will inevitably be colored by their own socio-historical context. We can—and should—continue to re-appropriate fairy tales, using old stories to find new meaning, but we must be conscious of our accountability and intentional in our choices. Every martyrdom narrative has consequences, but when the martyr is fictional, her voice is our voice; we use her story to tell our own. Snow White is still our martyr; she can be a martyr for each one of us.
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As you may have read, this half term we focused on the teaching of memoir.
In our first week we discussed the genre using our genre-booklets and this created a buzz for the rest of the project. Focusing on the genre and why people write memoir allowed the generating of ideas to happen fairly quickly.
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We used around three techniques for generating memoir ideas. These included:
- Questions for memoirists – Children answer questions to jog their memories for potential memoir ideas (see our article about memoir writing).
- Using the ‘Michael Rosen’ effect. This is where children can take an otherwise ordinary moment and make it extraordinary. This can be an alternative to memoir writing for children who would much rather not write about anything overly heartfelt or emotive – which we can occasionally come across.
- Creating an Ideas Heart and allow children to add to it throughout the year.This includes: ‘What makes me happy, angry, scared or upset’ lists.
The children are well aware of these techniques which published authors often use to generate original writing ideas.
Here are some of the topics the children chose to write about:
- Meeting a new pet for the first time,
- Moments from holidays,
- The birth of siblings,
- Learning to do something new for the first time,
- The death of a loved one – including pets,
- Family separations,
- Meeting distant relatives for the first time,
- Special times spent with family,
- Meeting a hero,
- Taking part in sporting competitions,
Because we asked children to focus on just a small moment in time – what we call a ‘pebble moment’ (taken from Nancie Atwell’s book In The Middle) the drafting of these pieces came very quickly for the children. We suspect that this was also due to the fact that the children were writing on a topic in which they felt an expert.
Our writing-study lessons were a real success. We focused on how the children can use narrative devices to improve their memoirs. During the revision stage, we again used the genre-booklets and the children looked for opportunities to explore in more detail the following:
- Strong openings,
- Setting description,
- Character development,
- Poetic and figurative language to describe,
- Interesting endings which carry a message for the reader.
Again, we believe the children were able to take on this kind of linguistic burden due to the fact they were writing about a topic they were sure of. They could see where, when and how to use these devices in their pieces to good effect.
Our functional-grammar study was based on the use of time-openers and paragraphing as a means to move time forward and expanded-noun phrases to provide additional details for the reader.
Below, we are pleased to share a variety of different memoirs from across the year group. These were produced by children in year 5 (9-10 years old).
If you have liked what you have read here and would like to read more about our approach to writing which we call ‘Real-Word Literacy’, you can follow the link here. If you’d like to view our Genre-Booklets, you can follow this link.
As always, thank you for reading and we hope you enjoy the memoirs:
Long Time, No See
As I sat in my car, I leant my head back and closed my eyes as tight as I could. I let my mixed feelings wash over me. Scared, excited, shy but most of all happiness. All these feelings pointed to my half-brother Edward, who I was going to see today for the first time in three years.
The car halted so fast my stomach almost flew out of my mouth. I was shocked out of my thoughts and back to real life.
I was tingling all over when I stepped out of the car. From one look up I noticed the day had turned around – just like my feelings. The day had changed from dark and gloomy with clouds of worry fogging up my mind to bright, blue skies with and hint of sunshine. But still (even with a hopeful feeling in my heart) a small cloud was just not shifting from mind. I jumped down into the mud. My shoes splatted but I was only concentrating on keeping my head down for as long as I could (without being noticed). My cheeks felt like they were at melting point and my legs were shaking like jelly.
When I couldn’t keep my head down any longer, I slowly but surely tilted it up. My younger brother (Joe) had rushed up to Edward and was confidently babbling away and squeezing him to death. I could not quite hear what he was saying but I was sure that I would not be able to speak to Edward that easily. Joe has always been care-free and confident like that.
Edward was taller than I had ever imagined and he cast a long shadow over the front garden. He had a small but noticeable beard and a sleeve of tattoos down one arm.
He lifted his gaze over Joe and caught my eye. I wanted to rush back into the car and hide there forever but there was something drawing me towards him. Joe finally let go and went to talk to my dad – who was standing in the doorway behind Edward.
Suddenly, I did something very unexpected. I rushed up to Edward and squeezed him till I was sure he would burst. I felt comfortable in his arms like all I had had to do was hug him and it was possible everything would have been ok. I looked into his eyes and smiled “Hello Edward,” I said shyly. He stared straight back into mine and grinned till his face almost split. “Hello Emma,” he replied. I released him and grabbed his hand, dragging him inside for many more adventures together.
I’ve learnt that you have to grab the moments while they last and make the most of them. I hope you do too.
By Emma London (9-Years Old)
The Day My Life Changed!
I have been waiting for months for this to come.
My baby brothers were finally born. When I woke up, I was at my nan’s house. I asked my granddad why I was here? At 7oclock in the morning, my nan got home to pick me and my sister up, to get us to the hospital. I was thrilled and rushed out of the house. I was the first to get in the car. I was buzzing with excitement!
When we got there, I unplugged my seatbelt, got out of the car and ZOOMED through the hospital doors. My nan shouted “Calm down!”
I shouted back at her “I can’t! I feel like I’m going to EXPLODE!” – even though I couldn’t. After that, we got into the lift and went to floor 4 where my mum was. I heard babies crying; nurses and doctors talking loudly. My mum looked so tied. I hugged her like no one else could. My dad asked us if we wanted to go and see our new baby brothers. They were in separate rooms because my brother Leo was born dead but 7 minutes later he started to breathe again. He was the same size as my shoulder to my elbow. He had a little bit of golden hair as if it was popcorn .He had long eye lashes like spider legs. I couldn’t really see that much of him because he had tubes and face masks on him everywhere. Next, we went to see Lee Junior. He was a bit bigger than Leo. He had soft silky skin and bright blue eyes that sparkled when I glared at him. I leant over and smelt him because I love that baby type of smell. They both were so adorable and very precious. I really wanted to hold them but we weren’t allowed. I carefully stroked their tiny little faces. I wanted to take them home today but they were born a month early and were really poorly.
You see, this is a story of how Lee Junior was a hero .When they were in my mum’s tummy, Leo’s cord was in a tight knot and stopped him breathing. However, Lee Junior, incredibly saw what was happening and broke my mum’s water and now Leo and Lee Junior are in safe hands with the doctors and the nurses. Two weeks later, I went to Matilda’s house and when I came home, there they were, laying there asleep, on the sofa!
And now we are a proper family.
By Tina Westley (9 years old)
I was desperately sitting in front of the incubator watching the duck eggs. Although I knew they weren’t ready to hatch, I still sat there waiting.
One afternoon, when I came back from school, my dad told me one of the duck eggs had started hatching. I was so excited until… I found out it was about two or three weeks early. My parents had to superglue it together. We all thought it wouldn’t hatch but we were wrong. We all knew that if it hatched the duck lurking inside would be called superglue.
Soon, the ducks started poking their tiny, orange beaks out of their little turquoise house. First to hatch was an adorable little male duck, who we called Gamima (at the time we thought he was a female). The second one to hatch was small compared to Gamima. We called her Daffy. Over the course of the next few days, the other eggs started to hatch – all of them except Superglue.
Finally, his egg started to form a lightning bolt across the top and a small beak pecked its way through the shell. As soon as I laid my eyes on him I knew he was my favourite. In some way he was the most special. He was a small pile of adorable, yellow fluff and I loved him dearly.
Soon, I and the rest of my family were allowed to hold the ducks. It was the most amazing experience I had ever had. They had the beautiful shape and were too soft to describe! They closed their eyes when you stroked them and leant their head to my body. As I stroked their head, I felt their soft skull beneath their warm feathery skin. They were so light they could fall over if a light breeze hit them. Their tiny webbed feet griped to my relaxed fingers.
That weekend it was time for the ducks to have their first adventure outside. It was a beautiful, hot summer’s day and the blazing sun shone over our garden. Daisies had started sprouting from the grass and apples were hanging from our small apple tree. The ducks were all so happy. After an hour outside, it was time for the ducks to go back into the house. My dad scooped up six of the ducks and took them inside. The only one left was superglue who was wandering around in the garden. Me, my mum and my brother were watching him. The minute we turned our backs away, there was the sound of a faint quacking and a fox running. A fox had superglue in his mouth. When my dad tried to catch the fox, it ran out of the garden and disappeared.
Superglue was gone forever.
By Emma Goodheart (10 years old)
The Best Match Ever!
This was it. Me and my dad were walking up Wembley Way, to see the FA Cup Final. Man United vs Crystal Palace.
I could smell pork being cooked in the back of a van. It was about 3:00 PM and the sun was shining bright over the unmistakable arch of Wembley Stadium. Me and my dad always like to make score predictions before matches we see. My dad thought 3-0 Crystal Palace and I thought 1-0 United. People were chanting their team’s songs and were drinking a lot of beer. I could see a few people fighting which was not very good. But we’d finally got passed security and were now walking up the steps.
Me and my Dad support United so we were both buzzing with excitement. When we got to the final step, we could see the green pitch popping out at us. We walked to our seats and sat down. I was ready.
After 70 minutes of very boring football, Crystal Palace scored. The other side of the stadium roared with excitement. It was as if the flood lights were shining on the Crystal Palace fans and players. On our side it was as quiet as a pin dropping on a big, fluffy rug. “Oh no,” I quietly said to my dad (who had his head in his hands).
It was now the 80th minute and the United fans were losing hope. Just as people started to leave, United scored! All of us screamed with joy and jumped into the air. “Cooomme onnn!” shouted my Dad (who didn’t have his head in his hands anymore). My head was filled with thoughts such as: we’ve brought it back and can we win the cup?
Ten minutes later, the ref blew the final whistle and the score was 1-1. Every single person in Wembley knew that there was another 30 minutes for a winning goal. I was extremely excited and extremely scared because I knew that the next half hour would decide whether today was the best day of my life – or the worst…
It was now the 20th minute of extra time and there were still no more goals but United were on an attack! Wayne Rooney was running down the left wing with the whole United team in the penalty area. Rooney got to the bi-line and crossed the ball into the area, the ball spun in the air and immediately bounced off Delany’s knee. The attack had stopped. Or had it? The ball was flying in the air and fell to Jesse Lingard. He took an ambitious first-time volley. The ball, which was going as fast as a falcon swooping down at its prey, went right into the top left-hand corner of the net! It was the winning goal!
Me and my Dad jumped up in the air and were hugging each other. Even a man, who was in the stand above, was hugging us both!
That is why the 21st of May 2016 was the best day of my life and the best football match I’ve ever been to.
By Freddie Levine (10 years old)
The Day I Met My Hero
Have you ever wondered what it would be like to meet your hero?
Dad, who was a great rugby player, knew they were in town. My hero in Hastings. For that reason, we went on a hunt, a hunt for Owen Farrell, who was my idol, and the whole England Rugby Team. All of a sudden, out of the corner of my brother’s eye, he saw an England Rugby Tracksuit. In desperation he shouted “They are over there!”
“This would change my life forever” I thought as we walked up the stone steps to the Jurys Inn. I tentatively crept up the stone steps and pushed open the great glass doors.
The Jurys Inn was packed with huge windows and was amongst the seafront. The windows opened up to the wavy, blue sea. The sun was shining in the sky like a shooting star flying in the night sky. The inside was huge with a bar the size of a Porsche, and had multiple rooms around it. There were stairs either side of us and there was lots of bustling people around gossiping. I was shy to the touch. My heart was beating like a buzzard’s wing
I kept looking backwards and forwards waiting. For the special arrival. But would he ever come? I thought. My stomach turning inside me like a washing machine.
Then, out of nowhere, a 6’3 man came in. His hair elevated in the air like a plane trying to thread through clouds. Owen Farrell was wearing an England tracksuit and was with George Ford (another professional rugby player).
“It’s OWEN FARRELL!” I exclaimed to my dad. Before I realised, I was asking him for a picture and signature with my brother. As my Dad took the picture, I thought “I’m not seeing him through tiny pixels.” That moment was precious to me.
Finally, to top the day off, I got him and only him, to sign my new England rugby shirt. Not wanting to go, my Mum and Dad forced me to leave. We went into Donatello’s for dinner that night and well, I was defiantly not taking my jumper off…
By Tom Stock (9 years old)
Sprinkles On The Moon
Have you ever wondered how ice-cream tastes at midnight?
Well, one warm night in the summer holidays, me and my family went out for a walk until my dad had an idea that changed the whole day!
There we were at Jojo’s. One step blew our minds. There was a variety of different flavours spread across the room, my mum looking at the melon flavour, me and my brother Luis scanning the room for unusual flavours like Kinder Bueno, water melon and even peanut butter! Finally, we all chose our flavours. I chose strawberry, Luis lemon sorbet, my cousin Kleo Kinder Bueno, my mum finally chose melon and my dad vanilla.
We all stepped out still amazed, and we made our way down to the seafront. On the way there, Kleo randomly said in Albanian. “Do you know why I chose Kinder Bueno?”
“Why?” My dad replied.
“Because in Italy, all the ice-cream shops do it.” He finished. When we got there, my dad went down to the sea and shouted. “The sea has at least risen by a metre!” Me and Luis sharply looked at the sea and we saw that it was slowly overlapping itself like dark baby horses in a race for victory. We both raised our eyebrows amazed. We were staring at the stars –it was like the moon was a spotlight shining down at us-tongues against ice-cream like iron to a magnet. Drunk men frequently shouting at nearby pubs, the cool, relaxing breeze gently touching our faces. Ice-creams’ melting and growing by the minute and frozen flakes refreshing our bodies. All this until my mum suggested that it was getting late and we should start walking to the car that was parked more than a mile from where we were.
Our dad told us that we had to get going until I asked, “Can we get seconds?”…
By Agim Sinani (9 years old)
“Harry has died,” Mum said to me in a mournful voice in the morning. But who is Harry and how had he died? Let’s go back to the night it happened.
It was a cold evening, the moon was bright and cars bustled past each other in a mess of grimy bonnets and gleaming headlights. It seemed a perfectly normal evening and houses squatted low on the street.
I was playing in my room having an enjoyable time when someone shouted “Something is wrong with Harry,” (Harry was our cat and seventeen by now. With fluffy paws and a warm coat, our family loved him). I went downstairs to see what was up.
Fred. who was my brother, knelt by Harry who was tottering around as if blind. “What’s wrong?” I asked with curiosity. “Harry doesn’t seem to notice me,” said my brother “Harry, Harry”.
Mum and Dad came down -worried looks on their faces. “He has gone blind,” said Dad and my heart ached as if someone were squeezing its juices out. “It might be diabetes,” said Mum (that sounded bad). “Try feeding him,” suggested someone.
Immediately, Harry turned up his nose at the food placed in front of him. He let out a mournful meow. He needed the vets. Terrified, Harry got into his basket. Dad hauled him into the car. Tears rolled down my cheeks. I stroked Harry one last time. Dad stamped on the pedal and I watched the car pull out into the road and speed into the night. That was my last glimpse of Harry.
In the morning, there was silence. The trees stood high, leaves on their branches. The sun seemed dim as if a life had been lost. I dragged myself downstairs and we are now back at the beginning with mum delivering the terrible news.
Later that day, I saw Harry’s bed, wishing he was still in it. That was when my precious Harry was lost…
By George Newman (10 years old)
I slowly trudged out of my house. The house I would never again laugh in; never again cry in. The house I would never again eat in; never again sleep in. Mum heaved our suitcases out of the house and into the Grandpa`s van. My eyes started watering.
It was a rainy day, as there is always horrible weather in Manchester. We lived on a street with a dead end. Our house was on the right side at the end of the road next to the tall cobble wall. My cousins lived opposite us. I took once last glance at the house I loved, but would never see again.
I didn’t understand why this was happening (as I was only 3 and a half) but I knew what was happening, “Mum, why do we have to leave Dad?” I pleaded, hoping she would change her mind of leaving Dad and stay with him “Because we are.” Mum said sharply. I turned around, Dad was at the front door. I ran across the gravely path and into Dad`s arms.” Do you promise you will write to me?” I asked Dad. “Promise.” He replied
It felt as if my heart broke in two like a piece of paper being torn to shreds. I was trying to hold my sadness in, but it just came all over me. My sadness gushed out of me and I burst into tears. I squeezed Dad tight. Why does it have to be like this? I thought.
“Come on Aleena, get in the van” Mum called. I scooted over to her, and I clambered into the van. I shut the door. I looked out the window and I saw Dad waving. I could faintly hear his voice saying “Goodbye!”. As his voice died away, so did my hope. Would I ever see him again, I thought to myself.
By Aleena Koraishi (9 years old)


In this topic, we will delve into the foundational principles of game design, including game mechanics, player experience, level design, and storytelling. While these concepts are not specific to any game engine, we will explore how the tools and features provided in Unity can be used for effective implementation.
- We will discuss the essential elements of game mechanics, such as rules, goals, challenges, and feedback.
- Examples will be provided on how to create and implement mechanics using the scripting capabilities and built-in components.
- We will explore the physics engine, particle system, and animation tools to create dynamic and engaging mechanics.
Essential Elements of Game Mechanics
Game mechanics are the foundational systems and rules that govern player interactions within a game. They provide structure, define the gameplay experience, and contribute to the overall enjoyment and engagement of players. There are several essential elements of game mechanics that game designers must consider:
- Rules: Rules establish the boundaries and limitations within which the game operates. They define what is allowed and what is prohibited, providing structure and consistency. Clear and well-defined rules ensure that players understand how the game functions and what actions are possible.
- Goals: Goals give players a sense of purpose and direction. They provide objectives to strive for, creating a sense of progression and accomplishment. Goals can be short-term, such as completing a level or defeating an enemy, or long-term, such as completing a story arc or achieving a high score. Well-designed goals provide motivation and drive players to continue playing.
- Challenges: Challenges introduce obstacles and difficulties that players must overcome to achieve their goals. Challenges can take various forms, such as puzzles, enemies, time limits, resource management, or strategic decision-making. Well-designed challenges strike a balance between being achievable yet sufficiently demanding to keep players engaged and provide a sense of accomplishment upon overcoming them.
- Feedback: Feedback is essential for player understanding and engagement. It provides information to players about their actions, progress, and the game state. Feedback can take various forms, including visual, auditory, or haptic cues. Positive feedback, such as rewards, level completion, or congratulatory messages, reinforces desired behaviors and motivates players. Negative feedback, such as failure states, alerts, or penalties, helps players learn from mistakes and adjust their strategies.
How to Create and Implement Mechanics Using Unity Scripting
- Begin by clearly defining the mechanics you want to create. Identify the specific rules, actions, and interactions involved in the gameplay.
- Familiarize yourself with C#, a primary scripting language used in Unity. Learn the basics of variables, data types, control flow, and object-oriented programming concepts.
- Create a new C# script in Unity to implement your mechanics. Right-click in the Unity project window, select "Create," and choose "C# Script."
- Double-click the script file to open it in your preferred code editor, such as Visual Studio or Visual Studio Code.
- Within your script, define functions and variables that correspond to the desired mechanics. For example, if you're creating a jumping mechanic, you might define a Jump() function and a 'jumpForce' variable.
- Utilize the built-in components and functions to access and manipulate game objects and their properties. For instance, you can use the Rigidbody component to control physics-based interactions or the Animator component to handle character animations.
- Write code within the appropriate functions to handle the behavior and interactions of the game mechanics. For example, within the Update() function, you can check for player input and trigger the Jump() function when necessary.
- Leverage the event-driven system to respond to specific events such as collisions, button presses, or time-based triggers. Implement event handlers and listeners to execute relevant mechanics in response to these events.
- Regularly test your mechanics within the Unity Editor to ensure they work as intended. Use the Play mode to simulate gameplay and identify any issues or bugs.
- Debug and troubleshoot your code by using breakpoints, logging statements, or Unity debugging tools.
- Iterate and refine your mechanics based on playtesting and user feedback. Fine-tune parameters, adjust timings, or add additional functionality to enhance the gameplay experience.
- Utilize the Asset Store or create your own assets, such as 3D models, textures, or audio, to enhance the visual and auditory aspects of your mechanics.
- Integrate these assets into your game by importing them into the Unity project. Assign them to appropriate game objects and utilize them within your mechanics.
- Refer to the Unity official documentation, tutorials, and online resources for more in-depth guidance on Unity scripting and utilizing built-in components, or hire a professional Unity developer.
Unity Physics Engine, Particle System, and Animation Tools
1. Physics Engine
- Unity physics engine allows you to simulate realistic physics interactions in your game. It handles collisions, gravity, forces, and rigidbody dynamics.
- To utilize the physics engine, attach a Rigidbody component to game objects that require physics interactions, such as characters, objects, or projectiles.
- Configure the Rigidbody properties, such as mass, drag, and constraints, to achieve the desired behavior.
- Use physics-based functions, such as AddForce(), AddTorque(), or OnCollisionEnter(), to apply forces, detect collisions, and create reactive gameplay elements.
2. Particle System
- Unity particle system is a versatile tool for creating various visual effects, such as explosions, fire, smoke, or magical spells.
- Open the Particle System window and adjust parameters like emission rate, shape, size, color, and lifetime to create the desired particle effect.
- Utilize different modules, such as the Renderer module or the Collision module, to control rendering and interaction with other objects.
- Trigger particle effects programmatically using scripts to add visual flair to your mechanics, such as spawning particles on impact or creating particle trails for moving objects.
3. Animation Tools
- Unity provides a robust animation system for creating character movements, object animations, or visual effects.
- Use the Animation window to create keyframe-based animations. You can animate properties like position, rotation, scale, or blend shapes.
- Set up animation controllers, states, and transitions using the Animator window to control the flow of animations based on game events or player input.
- Blend animations together, create animation layers, or utilize humanoid rigs and inverse kinematics (IK) to achieve more complex and realistic character animations.
- Trigger animations programmatically using scripting to synchronize animations with gameplay events, such as attacking, jumping, or interacting with objects.
- Understanding player psychology and motivations will be a key focus. We will discuss concepts such as player agency, flow, and immersion.
- We will explore how the input system can be utilized to provide responsive and intuitive player controls.
- Unity audio and visual effects capabilities will be examined to enhance the player experience and create emotional impact.
Understanding Player Psychology and Motivations
1. Player Motivations
- Players have different motivations for playing games, such as achievement, competition, exploration, social interaction, immersion, or relaxation.
- Identify the primary motivations you want to target in your game and align your mechanics, goals, and rewards to cater to those motivations.
- Consider incorporating various gameplay elements, such as leaderboards, achievements, unlockable content, or cooperative/competitive multiplayer, to appeal to different types of player motivations.
2. Player Agency
- Player agency refers to the sense of control and influence players have over the game world and their own actions within it.
- Provide players with meaningful choices and consequences. Allow them to make decisions that impact the game's outcome or narrative, fostering a sense of autonomy and engagement.
- Strike a balance between challenge and skill, ensuring that players feel a sense of mastery and accomplishment when overcoming obstacles or achieving goals.
3. Flow and Immersion
- Flow refers to the state of optimal engagement and focus that players experience when the challenges presented in the game match their skill level.
- Design your game to offer a gradual increase in difficulty, providing players with a challenging yet manageable experience.
- Promote immersion by creating a coherent game world, compelling narrative, and immersive audiovisual elements that transport players into the game's universe.
4. Emotional Engagement
- Emotions play a significant role in shaping player experiences and memories. Design mechanics, narratives, and characters that evoke emotional responses, such as joy, excitement, tension, or empathy.
- Leverage storytelling techniques, character development, audiovisual cues, and impactful moments to create emotional connections with players.
5. Feedback and Rewards
- Feedback is essential for player understanding and motivation. Provide clear and immediate feedback to players about their progress, achievements, or mistakes.
- Utilize rewards strategically to reinforce desired behaviors and goals. Consider using a combination of intrinsic rewards (e.g., a sense of accomplishment) and extrinsic rewards (e.g., in-game items or achievements) to motivate players.
- We will cover the principles of level design, including pacing, difficulty progression, and creating memorable environments.
- The Unity scene editor will be explored to design and construct game levels, including placing objects, setting up colliders, and implementing interactive elements.
- We will discuss techniques for optimizing level performance and creating efficient level streaming using the tools provided in Unity.
Principles of Level Design
1. Clear Goals and Objectives
- Clearly define the goals and objectives of each level to provide players with a sense of purpose and direction.
- Communicate the goals through visual cues, dialogue, or prompts to guide players on what they need to achieve.
2. Progression and Pacing
- Design levels with a sense of progression and pacing to maintain player engagement and avoid monotony.
- Introduce new challenges, mechanics, or environments gradually, allowing players to learn and adapt to new situations.
3. Balancing Difficulty
- Strike a balance between challenge and player skill level. Design levels that offer a suitable level of difficulty, providing a sense of accomplishment when players overcome challenges.
- Gradually increase the difficulty as players progress, ensuring a smooth learning curve and avoiding frustration or boredom.
4. Exploration and Discovery
- Encourage exploration within levels to reward players with hidden secrets, collectibles, or optional paths.
- Provide visual or audio cues that hint at potential rewards or points of interest, encouraging players to explore and discover.
5. Environmental Cohesion and Theming
- Create levels with a cohesive and consistent visual theme, art style, or narrative context.
- Ensure that the environment, props, and architecture align with the overall theme of the game to enhance immersion and create a cohesive world.
6. Spatial Design and Flow
- Carefully consider the layout and flow of the level, guiding players naturally through the environment.
- Use level geometry, landmarks, lighting, or other visual cues to direct players and prevent confusion.
- Avoid dead ends or areas that feel disconnected, ensuring a smooth and logical progression.
7. Variety and Replayability
- Provide variety in level design elements, such as enemy placement, obstacles, or puzzles, to keep gameplay fresh and engaging.
- Incorporate opportunities for different playstyles or approaches, allowing players to tackle challenges in their preferred manner.
- Consider replayability factors, such as alternative routes, randomized elements, or additional objectives, to encourage players to revisit levels.
8. Performance and Optimization
- Optimize levels to ensure smooth gameplay performance, especially in resource-intensive scenes or complex environments.
- Utilize techniques like occlusion culling, level streaming, or LOD (Level of Detail) systems to manage performance efficiently.
Unity Scene Editor
1. Scene Hierarchy
- The Scene Hierarchy panel displays a hierarchical view of all the game objects present in the scene.
- Developers can organize objects into parent-child relationships, allowing for convenient grouping and manipulation of objects.
- Objects can be selected, moved, rotated, and scaled directly within the Scene Editor using gizmos or by adjusting their properties in the Inspector panel.
2. Transform and Manipulation Tools
- Unity Scene Editor provides intuitive transform and manipulation tools for positioning, rotating, and scaling game objects.
- Developers can interactively manipulate objects using handles and gizmos within the Scene view.
- The snapping feature allows the precise alignment of objects to a grid or specific positions.
3. Camera Control
- The Scene Editor allows control over the camera view, enabling developers to navigate and visualize the scene from different angles and perspectives.
- Camera controls include panning, zooming, rotating, and focusing on specific objects or areas of interest within the scene.
4. Object Placement and Creation
- Game objects can be created and placed directly in the scene using Unity Scene Editor.
- Developers can choose from a wide range of pre-existing objects, such as primitives, particle systems, lights, terrain, or custom prefabs.
- Objects can be positioned precisely in the scene using the transform tools or by entering specific values in the Inspector panel.
5. Lighting and Environment Setup
- Unity Scene Editor allows for the setup and configuration of lighting and environment settings within the scene.
- Developers can place and adjust various types of lights, such as directional, point, spotlights, or area lights, to achieve desired lighting effects.
- Environmental settings like skyboxes, fog, and ambient lighting can be configured to create specific moods or atmospheres.
6. Navigation and Pathfinding
- The Scene Editor provides tools for setting up navigation meshes and defining navigation areas for AI agents or player movement within the scene.
- NavMesh components and settings can be configured to allow for pathfinding and AI navigation.
7. Collaborative Editing
- Unity Scene Editor supports collaborative editing, allowing multiple developers to work on the same scene simultaneously.
- Changes made by one developer are reflected in real-time to other collaborators, enhancing team productivity and facilitating teamwork.
Techniques for Optimizing Level Performance and Creating Efficient Level Streaming
1. Occlusion Culling
- Occlusion culling is a technique used to prevent the rendering of objects that are not currently visible to the camera.
- Unity provides built-in occlusion culling tools that automatically determine which objects are occluded by other geometry and exclude them from rendering.
- Configure occlusion culling settings in Unity Occlusion Culling window and bake occlusion data to optimize rendering performance.
2. Level of Detail (LOD) Systems
- LOD systems involve creating multiple versions of a 3D model with varying levels of detail.
- Objects that are far away or not in focus can be replaced with simpler or lower-resolution models, reducing the overall polygon count and improving performance.
- Use the Unity LOD Group component to set up and manage LOD levels for your models, allowing automatic transition between different levels based on distance.
3. Culling and Frustum Culling
- Unity culling techniques help determine which objects or parts of objects should be rendered based on their visibility to the camera.
- Culling techniques, such as view frustum culling, backface culling, or object culling, can be used to exclude objects or geometry that are not within the camera's view.
- Utilize the built-in culling features and enable them selectively to optimize rendering performance.
4. Level Streaming
- Level streaming involves dividing a large game level into smaller sections or chunks and loading them dynamically based on the player's position or game events.
- Splitting the level into smaller parts allows for more efficient memory management and reduces the need to load the entire level at once.
- Use Unity SceneManager API to load and unload specific scenes or sections of your level dynamically as needed, reducing memory overhead and improving performance.
5. Asset Bundles
- Asset bundles allow you to package and load game assets dynamically at runtime.
- By separating assets into bundles, you can load and unload specific assets or groups of assets as needed, reducing memory usage and improving load times.
- Utilize the Unity Asset Bundle system to create and manage asset bundles for your game's level assets.
6. Batching and GPU Instancing
- Unity batching and GPU instancing techniques help reduce draw calls and improve rendering performance.
- Combine multiple static or similar objects into a single batch to minimize the number of draw calls sent to the GPU.
- Utilize GPU instancing to render multiple instances of the same object with a single draw call, reducing CPU overhead and improving rendering efficiency.
7. Profile and Optimize
- Regularly profile your game using Unity Profiler to identify performance bottlenecks and optimize accordingly.
- Optimize scripts, minimize the use of costly operations, and avoid unnecessary computations.
- Use object pooling to reduce memory allocations and garbage collection overhead.
- The importance of storytelling in games will be emphasized, including narrative structure, character development, and player engagement.
- We will explore various storytelling techniques and discuss how Unity tools, such as timeline and cinemachine, can be used to create compelling narratives.
- Integration of dialogue systems, cutscenes, and interactive storytelling elements using Unity scripting capabilities will also be covered.
The Importance of Storytelling in Games
1. Immersion and Engagement
- Storytelling creates an immersive experience by transporting players into rich and compelling game worlds.
- Engaging narratives, memorable characters, and well-crafted story arcs capture players' attention and emotionally invest them in the game.
2. Emotional Connection
- Stories evoke emotions and create a connection between players and the game world.
- Emotional engagement enhances player enjoyment and makes the gaming experience more meaningful and memorable.
3. Context and Purpose
- Storytelling provides a context and purpose for the player's actions, giving them a clear goal and direction.
- A well-crafted narrative motivates players, making their actions and decisions within the game feel purposeful and relevant.
4. Player Agency and Impact
- Stories can be designed to incorporate player agency, allowing them to make meaningful choices that shape the narrative and outcomes.
- Giving players the power to influence the story creates a sense of ownership and empowerment, making their actions feel significant.
5. World Building and Lore
- Stories in games contribute to world-building, establishing the lore, history, and mythology of the game universe.
- Rich world-building enhances immersion and creates a sense of depth and authenticity within the game world.
6. Character Development
- Well-developed characters with compelling backstories and personal arcs can evoke empathy, attachment, or even antagonism from players.
- Character-driven narratives allow players to form emotional connections with the characters, driving their engagement and investment in the game.
7. Player Retention and Longevity
- Engaging stories increase player retention, as players are driven to uncover what happens next or experience the resolution of the narrative.
- A captivating story can motivate players to complete the game, explore additional content, or even revisit the game in the future.
8. Message and Themes
- Games can convey messages, themes, or social commentary through storytelling.
- Thoughtfully crafted narratives can address complex topics, provoke thought, and provide players with new perspectives and insights.
Understanding the fundamental principles of game design is crucial for anyone interested in game development, regardless of the specific game engine they choose to work with. In this topic, we explored the core concepts of game mechanics, player experience, level design, and storytelling, and how they can be implemented effectively using Unity tools and features.
Unity, as a versatile and widely-used game engine, provides a range of capabilities that align with these fundamental principles. We discussed how Unity scripting capabilities, physics engine, particle system, animation tools, input system, audio and visual effects, scene editor, timeline, cinemachine, and scripting capabilities can be utilized to create engaging and immersive gaming experiences.
By leveraging Unity features, game developers can bring their ideas to life, implementing dynamic game mechanics, creating captivating player experiences, crafting well-designed levels, and telling compelling stories. The integration of Unity tools with the core principles of game design empowers developers to create unique and memorable games.
However, it's important to note that while Unity offers a powerful framework, the success of a game ultimately depends on the creativity, innovation, and execution of the design itself. The understanding of game design principles discussed in this topic provides a solid foundation for developers to create games that captivate and entertain players.
As you embark on your journey into game development with Unity, remember to continually explore and learn. The vast resources, community support, and extensive documentation will assist you in further enhancing your game design skills and leveraging the features in Unity to their fullest potential.


Transcript: Evidence of global warming Clearing forests also releases large amounts of carbon dioxide. On top of that, plants and trees use it to grow. Worldwide deforestation means we don’t have as many trees to absorb the extra carbon dioxide.This means more of it stays in the atmosphere, trapping more heat. One of the most immediate and obvious effects of global warming is the increase in temperatures around the world. The average global temperature has increased by about 1.4 degrees Fahrenheit (0.8 degrees Celsius) over the past 100 years, according to the National Oceanic and Atmospheric Administration (NOAA). Effects of global Warming Evidence of global warming Images of global warming Images of global warming Most climate scientists agree the main cause of the current global warming trend is human expansion of the "greenhouse effect"1 — warming that results when the atmosphere traps heat radiating from Earth toward space. Certain gases in the atmosphere block heat from escaping. Since 1970, the area of snow cover in the United States has steadily decreased, according to the EPA, and the average temperature of permafrost (soil that's at or below freezing temperature) has grown warmer.One of the most dramatic effects of global warming is the reduction in Arctic sea ice: In 2012, scientists saw the smallest amount of Arctic ice cover ever recorded. Most analyses project that, within a matter of years, the Arctic Sea will be completely ice-free during the summer months. Since record keeping began in 1895, the hottest year on record for the 48 contiguous U.S. states was 2012. Worldwide, 2012 was also the 10th-warmest year on record, according to NOAA. And nine of the warmest years on record have occurred since 2000. According to NOAA, 2013 tied with 2003 as the fourth warmest year globally since 1880. Detailed measurements of atmospheric carbon dioxide (CO2) levels have been taken continuously for more than 50 years. The data show that CO2 levels have steadily increased every year. Today they are 25 percent higher than in 1957.What's more, scientists have detailed records of past CO2 levels from ice core studies, which show that CO2 levels are higher today than at any point since our distant ancestors began migrating out of Africa 800,000 years ago. Causes of global warming The heat-trapping nature of carbon dioxide and other gases was demonstrated in the mid-19th century. There is no question that increased levels of greenhouse gases must cause the earth to warm. ice cores from greenland, antarctica shows that the earth reaponds to change in the greenhouse levels. Images of global warming Images of global warming Global warming is projected to have a number of effects on the oceans. Ongoing effects include rising sea levels due to thermal expansion and melting of glaciers and ice sheets, and warming of the ocean surface, leading to increased temperature stratification. Images of global warming Effects of global Warming Effects of global Warming Declining sea ice is one of the most visible signs of global warming on our planet. Since 1979, Arctic sea ice extent in September (when the annual minimum is reached) has declined by over 30 percent, according to the National Snow and Ice Data Center. The ice extent has been declining in other seasons, when its not supposed to. Evidence of global warming Effects of global Warming Evidence of global warming Extreme weather is an effect of global warming. While experiencing some of the hottest summers on record, much of the United States also has been experiencing colder than normal winters.Changes in climate can cause the jet stream to migrate south, bringing with it cold, Arctic air. This is why some states can have a sudden cold snap or colder than normal winter, even during the long-term trend of global warming. Causes of global warming Sea-level rise has been happening even faster than scientists anticipated a few years ago. If recent projections are accurate, 2-3°F warming could bring about 3 feet of global sea-level rise by 2100, displacing approximately 56 million people in 84 developing countries around the world. Effects of global Warming Climate change presentation Greenhouse gases are released into the atmosphere in many ways, including through the burning of fossil fuels (such as coal and petroleum) and by deforestation. As some environments warm (e.g. the Arctic tundra) they also release carbon that may have been stored for thousands of years. Quite simply, it hasn't. Even global surface temperatures (which is how Spencer is likely measuring 'global warming', although they only account for about 2% of the Earth's warming), have warmed about 0.2°C over the past 15 years, according to the best available measurements. Evidence of global warming Causes of global warming
Transcript: photo credit Nasa / Goddard Space Flight Center / Reto Stöckli Climate Change: China has the largest absolute emissions in the world, contributing ~7 gigatonnes of carbon dioxide per year. In absolute terms we see that... ...But the EU-27, with emissions greater than India and Russia combined, constitute the world's third largest emitter, with 4 gigatonnes every year. The second largest emitter is the US, with 5.5 gigatonnes of CO2 emitted per year. So too does Russia, with comparable emissions... A little context on global contributions to climate change... India also makes significant contributions, amounting to just under two gigatonnes of CO2 per year. Any action in the developed world is futile in the face of Asian economic development: a case against.
Transcript: Causes Effects It keeps the Earth's temperature at a comfortable level There is now more precipitationin the arctic because of climate change Member Greenhouse Effect Advantage Tempertures have rose up by about 2 degrees some regions of the acrtic The greenhouse effect is given this name because the effect is similar like in a greenhouse; the heat from the sun is trapped inside by the glass the greenhouse gases have the same property as the glass, infrared radiation cannot pass through them Rising sea levels also shows that there has been change in the Earth's climate Nancy Duong, Sammy Schwab, Ammi Jani Anthropogenic Greenhouse Effect Disadvantages The greenhouse effect is what keeps the heat trapped inside Earth to support life on Earth Without the greenhouse effect, the temperature would drop from 14°C to –18°C Climate Change man-made greenhouse gases; the burning of fossil fuels, can increase the concentration and Earth's temperature If the temperature increases, natural disasters can occur and also the temperature can become unlivable Glaciers are very sensitive to climate change, they can shrink and grow at very fast paces. The Arctic has the most evidence that climate has under gone a significant change (cc) photo by theaucitron on Flickr
Transcript: Off the western coast of the continent Europe lies the United Kingdom, a country made up of both Northern Ireland and Great Britain. This country, which is a combination of islands, is in the eastern Atlantic Ocean. The United Kingdom is English speaking, and ruled under Queen Elizabeth II. These charts, which show the average temperatures and precipitations in the year 1990, give the approximate rainfall per year to be 12 degree Celsius per month, and the precipitation to be 8 days a month, or 567 mm in the year. Severe weather patterns have been occurring constantly throughout the years, as many instances have been recorded equally between 1990 and 2012. Impacts of Climate Change in the Region Current Climate Information Like any other country, the United Kingdom is affected everyday from differences in climate, whether in temperature, precipitation, or in storms. As both the average temperature and precipitation increases, which is proven in the previous slides, this country not only undergoes a rise in sea level and heat, but a change in humidity, and flooding. As more water both comes in and is evaporated by heat, humidity stretches over the United Kingdom to cause effects on plant growth, and surface temperature. As crops decrease, so then does food for livestock, causing a lack of food for both the animal and people. Heat then also brings an environment for unwanted bugs or pests to succeed in, such as the flea, mosquito, and cockroach, who may all cause disease. Tropical storms, which may build from the wind of the ocean, are also affected by climate change on the coasts of the country as evaporation and high waves causes a swirl by the wind which could lead to tornado or hurricane. United Kingdom Climate Change These graphs, which explain the average temperature and precipitation patterns for the United Kingdom in 2012, are ways in which to explain the weather. In terms of temperature, an average of 14 degrees Celsius occurred per month, while 588 mm was the average rainfall in the year. Both records differ throughout the months, however remain approximately in the same range. Severe weather patterns also effect the United Kingdom, as each month may bring a new storm. Although storms may sometimes be unexpected, this gives no regular times for weather to come, yet the waters which surround the country bring constant fear for tropical storms such as tornadoes or hurricanes in the summer months. Summary In summary to my findings, I have realized that over a period of 12 years, temperature patterns have increased by 2 degrees per month, while precipitation patterns have increased by 24 mm per year. Throughout the years, however, tropical storms and weather have remained a common happening within the country. Many different problems can be affected by climate change, such as lack of crop growth for both people and livestock, a weather for pests to succeed in, flooding, sea level rise, and many others. Over time, these may cause huge affects on the planet as climate change increasing becomes a worse problem. Although somethings may be out of the human population's hands, small changes can be made to slowly deteriorate climate change. These could be transportation means, recycling and garbage, or pollution through factories and manufacturing. Together, as both smoke and polluted extract reaches the atmosphere, causes in temperature can be made which affect our planet. As a population, alterations can easily be set forth to both achieve and successfully reach a goal to control climate change. Past Climate Information Location of the United Kingdom
Transcript: Engaging Citizens in reducing the carbon footprint of BC communities Long Term Thinking Broad in scope co-ordinated across community collaborative networks through community a "living" plan target and track results Results of competitions support community goals and and - calculators + validation process PERSONAL efforts by citizens elders citizen accounts - personal inputs to system club accounts - club inputs challenge accounts - terms of challenges Pacific Institute For Climate Solutions Cap and Trade Revenue Competition as motivator make it fun Use existing facilitators who know community accurate metrics User-friendly! FUN Bottom-up Community Development Expanded - online challenge admin system -- sets goals -- creates metrics -- provides facilitation Engage & support existing community networks Expertise "Smart Planning for Communities" many data sets disaggregated by community - priorities, citizen dialogue + voting Existing Networks Government: Our system supports Interactive monitoring of results relevant narratives from users to share ideas organized by concepts & 'hood build in useful apps & calculators & display results to communities "Social Mobilization Workshop Report" not PERFECTION experts Apartment building residents high school teams soccer moms company employees Contests neighbourhoods Motivate common Community * data visualized & interactive * interactive maps * data with narratives Brainstorming: Project Design - node view supports social infrastructure provides resources We'd love to develop a detailed proposal for the Climate Action Secretariat software designed for community engagement Competition among similar entities: employees of Bank "A" challenge those of Bank "B" would contribute to improve Goal publicity, success stories competition stories provide special access to data & stories insures inclusivity for all prizes, recognition initially "priming the pump" are our team has the facilitate networking Community "A" challenges others tracking tool keeps track of entity in multiple competitions validation process authenticates individual efforts semantic framework We have the right stuff! activities credible metrics more calculators wider tracking public to add ideas Inspire Grass Roots solutions Citizen engagement Individual efforts may be small but... citzens of their communities united interest creation of coefficients is a key task Climate Change Data Catalogue - citizens stories about experiences inspired new solutions engage everyone Narratives results reports and analysis Community Facilitation Inspired diverse Green commuter challenge i.e. Parks & Rec staff... pay an honorarium many new everyday tasks Get support of local media social mobilization can add up! Local Media to report on successes prize is recognition focus all on a Fraser Basin Council aggregate individuals' efforts Method: such benefit will cap Trade learn If proposed methods can be proven Community Facilitators support of community media in context of community goals Participants Facilitators develop "entity competitions" Competitions
Transcript: While the Earth's Temperature rises naturally, humans are helping it, and making it worse. We have added a lot of green house gasses to our atmosphere, helping the temperature of the earth rise. Conclusion One major affect of global climate change, is the melting of the glaciers. The melting of these glaciers will affect the lives of animals, and also cause a rise in ocean water, creating floods. This will ruin many peoples homes, and lives. The melting of the glaciers become more noticeable as time passed. The earth started getting warmer, melting the glaciers. 1. The rising temperatures of the earth will have a direct affect on me. 2. The rising temperatures make the El Nino and la Nina years worse. An El Nino year is when parts of the ocean are hotter than normal, an El Nino year is when parts of the ocean are colder. 3. Climate change makes these years worse, affecting the weather and climate of where I live. 1. Studies have shown that the glaciers have been melting since 1850. 2. Currently, all glaciers are showing less mass than they have been before, and are melting. Data There is another aspect of climate change, though it wont directly affect me, I'm still concerned about Data Background Information Climate Change presentation By Courtney Douglas Climate Change Will Have a Direct Impact on My Life 1. The glacier cover on Mount Kilimanjaro has retreated 75%. 2. The volume of the glacier is now 80% less than it was a century ago. Conclusion Global climate change is a real issue, caused by real people, that needs real attention. If we continue to ignore the dangerous side affects of the global climate change, things could be very dangerous for humans, plants, animals, and the earth itself. People must be made aware, so that things can change, and life can become healthier. 1. Rising levels of CO2 in the atmosphere is dangerous for everything and everyone. 2. Rising CO2 are causing many health issues for people and even loss of life, for some. 3. Rising CO2 levels are causing our atmosphere to deplete. 4. Rising CO2 levels are causing harm to plants and animals. Background Information The glaciers are melting because of global climate change. The earth is warming because of our actions, and the glaciers melting is a consequence. There is documented proof of their melting since 1850. The melting of these glaciers will cause a loss of life, homes, fresh water that is available, and mountain climbing/viewing.. Date The earth is 5x warmer now, than it was a century ago. It is estimated that in 2036, earth will reach her boiling point... The earth's temperature has lowered 1.4 degrees since 1850. Date
Transcript: Deforestation and the destruction of rainforests have a huge affect on climate change. Trees absorb CO2 from the air as they grow. Using energy from the sun, they turn the carbon captured from the CO2 molecules into building blocks for their trunks, branches and foliage. This is all part of the carbon cycle. A mature forest doesn't necessarily absorb much more CO2 that it releases, however, because when each tree dies it either rots down or is burned, much of its stored carbon is released once again. In other words, Human activities contribute to climate change by causing changes in the Earth's atmosphere in the amount of greenhouse gases, small particles and cloudiness. Greenhouse gases and aerosols (small particles) affect climate change by changing incoming solar radiation and out going infrared radiation that are part of Earth’s energy balance. Changing the properties of these gases and particles can lead to a warming or cooling of the climate system. Human Causes How do humans affect climate change? When humans burn gasoline, coal, natural gas, and other common fuels to make electricity or drive cars, they release a large amount of carbon dioxide into the atmosphere. For every gallon (or liter) of gasoline your car burns, 1300 times that volume of CO2 is released (a gallon of gas weighs about 6 pounds or 2.8 kilograms, but the released CO2 would weigh over 19 pounds or 8.75 kilograms). Climate Change talking about climate change, the most important thing about CO2 levels. - Pollution created by human activities - Carbon dioxide and other pollutants Other ways humans impact climate change Climate change has already had noticeable effects on the environment. Glaciers have shrunk, ice on rivers and lakes are breaking up earlier than suppose to, plant and animal ranges have shifted and trees are flowering sooner. Effects that scientists had predicted in the past would result from climate change are now occurring: loss of sea ice, accelerated sea level rise and longer, more intense heat waves. Decreased water resources in many semi-arid areas, including western U.S. and Mediterranean basin, increased frequency of hot extremes, heat waves and heavy precipitation, precipitation increases in high latitudes and precipitation decreases in subtropical land regions all have a high certainty on occurring in the future due to scientists predicaments. By: Nikolas and Rebecca Greenhouses: References: result from the burning of coal to All of the next three slides/ photos shown on your left focus on the adverse effects of climate change that have already happened or have a high risk of happening in the future. What can we do to help? produce electricity. As individuals we could help fix climate change by recycling, driving less, car pooling, using less water than what's needed for you and using less energy. As a society we could organize a protest on parliament where a group of people go and give their opinion on climate change and what we could do to help. forests is not that they reduce the amount of CO2 in the air but that they are huge reservoirs of stored carbon. If such a forest is burned or cleared then much of that carbon is released back into the atmosphere, adding to atmospheric Human Activities: Since the start of the industrial era (about 1750), the overall effect of human activities on climate change has been a warming influence. The human impact on climate during this era exceeds largely that due to known changes in natural action, such as solar changes and volcanic eruptions. Adverse Effects on Climate Change - Electricity generated at power plants is carried by power lines to users, sometimes hundreds of miles away. becoming worse. Conclusion Cars affecting climate change: Forest and Forestry: In conclusion, humans have a high impact on climate change and how our environment is till this day. Also, the harmful affects on climate change for the future are very high on our climate Continuation from last slide: http://www.ipcc.ch/publications_and_data/publications_and_data_reports.shtml#.Ut2eXHn0B1M http://ncse.com/climate/climate-change-101/how-much-human-responsibility-for-climate-change http://climate.nasa.gov/effects https://docs.google.com/a/ocsb.ca/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxtYXRobWFuaGVyYnl8Z3g6MjE3YTRkNTgxOGI2MWQ0OQ
Transcript: BORING TITLE FOR AN EXCITING TALK ABOUT CLIMATE CHANGE WHO KNOWS WHAT CLIMATE CHANGE IS? IT IS... The Goldilocks Effect Climate change refers to a change in the state of the climate that can be identified (e.g., by using statistical tests) by changes in the mean and/or the variability of its properties, and that persists for an extended period, typically decades or longer. Climate change may be due to natural internal processes or external forcings, or to persistent anthropogenic changes in the composition of the atmosphere or in land use. Just how warm...? 3-5° F by 2050 Just how high? 7-12 inches by 2050 Populus sp. All images courtesy of Estelle Levetin except Fagus sp. (ssb.plymouth.ac.uk) Ambrosia sp. Venus 863° Betula sp. Ulmus sp. Mars -82° Acer sp. BRIAN KAHN JULIE ARRIGHI CYNTHIA THOMSON Fraxinus sp. Fagus sp. Platanus sp. Quercus sp. Carya sp. Poaceae Earth 58° http://j.mp/MarchHeatwave
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