Get Pierre There

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Dec 10, 2013 (3 years and 11 months ago)

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Story & Brand Document for

Get Pierre There


Live
-
action video game about math!


‘A day without laughter is a day wasted.’

Charlie Chaplin







©

2012,

Pierre
-
Marc Diennet


Version # 2.00


Tuesday, December 10, 2013
C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


2

Table of Contents

GET PIERRE THERE

________________________________
________________________________

1

DESIGN HISTORY

________________________________
________________________________
__

4

V
ERSION
1.0

________________________________
________________________________
________

4

V
ERSION
2.0

________________________________
________________________________
________

4

GAME OVERVIEW

________________________________
________________________________
__

5

B
RIEF

________________________________
________________________________
_____________

5

T
HE
S
TORY

________________________________
________________________________
_________

5

Episode #1


Fourth Annual Cheese Ball

________________________________
_______________

5

Future Episodes

________________________________
___________

Error! Bookmark not defined.

T
HE
C
HARACTERS

________________________________
________________________________
___

6

Character Philosophy

________________________________
______________________________

6

Pierre

________________________________
________________________________
___________

6

Sofie
-
L
oaf

________________________________
________________________________
_______

6

Senor Serioso

________________________________
________________________________
_____

7

Supporting Characters

________________________________
_____________________________

7

T
HE
W
ORLD

________________________________
________________________________
________

7

No spoken words

________________________________
________________________________
__

7

Sound

________________________________
________________________________
___________

7

Colors

________________________________
________________________________
__________

7

Magic

________________________________
________________________________
___________

7

Indie Feel

________________________________
________________________________
________

7

G
AMEPLAY

________________________________
________________________________
_________

8

Interface
________________________________
________________________________
_________

8

Kinetics

________________________________
________________________________
_________

8

Scoring
________________________________
________________________________
__________

8

Control
________________________________
________________________________
__________

8

Progression

________________________________
________________________________
______

8

Learning

________________________________
________________________________
________

8

Levels of difficulty

________________________________
________________________________
_

9

Unique Idea

________________________________
________________________________
______

9

MARKET & PR
OJECT PLAN

________________________________
________________________

10

B
RIEF

________________________________
________________________________
____________

10

M
ARKET

________________________________
________________________________
__________

10

Size

________________________________
________________________________
___________

10

Ascendance of interactive platforms

________________________________
__________________

11

Unique Value Proposition

________________________________
__________________________

11

P
ROJECT
P
LAN

________________________________
________________________________
_____

11

Step 1
-

Design

________________________________
________________________________
__

12

Step 2
-

Social Media Campaign

________________________________
_____________________

12

Step 3
-

Shoot

________________________________
________________________________
____

12

Step 4
-

Editing

________________________________
________________________________
__

12

Step 5
-

Kickstarter

________________________________
_______________________________

12

Step 5
-

Engineering and Mapping

________________________________
___________________

12

Step 6
-

Launch

________________________________
________________________________
__

13

Step 7
-

Continued Social Presence

________________________________
___________________

13

Step 8
-

Sequels

________________________________
________________________________
__

13

Step 9


Getting off the bus

________________________________
_________________________

13

B
UDGET

________________________________
________________________________
__________

13

R
EVENUE

________________________________
________________________________
_________

14

Direct to Consumer

________________________________
_______________________________

14

C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


3

Brand Relationships

________________________________
______________________________

14

IP

________________________________
________________________________
_____________

14

V
ISION OF
S
UCCESS

________________________________
________________________________
_

14

APPENDIX

________________________________
________________________________
________

15

O
UTLINE
:

4
TH

A
NNUAL
C
HEESE
B
ALL


B
RING
Y
OUR
O
WN

________________________________
___

15

S
CENE
M
AP

________________________________
________________________________
_______

25

C
ONCEPT
A
RT

________________________________
________________________________
_____

25

The Lobby

________________________________
________________________________
______

26

Cowboys & Indians

________________________________
_______________________________

26

The Old Man

________________________________
________________________________
____

27

Crazy Donna

________________________________
________________________________
____

27

The Party

________________________________
________________________________
_______

28



C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


4

Design History



As we have progressed in the development of this concept we hav
e learned some very valuable
things about how to integrate game mechanics into live
-
action format.



Version 1.0



Version 1.0 was the first effort to technically describe t
he concept of Get Pierre There.



The main elements of this version of the game w
ere:




1. It was relatively short at 7 minutes.



2. It had only on main branching moment.



3. It was a proof
-
of
-
concept size project.




Version 2.0



Version 2.00 is
a completely reimagined version of the experience.



The major

in the changes are:


1.

Puzzles and challenge gates


2.

Progression mechanics


3.

Levels of difficulty


4.

Learning elements


teaching moments





C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


5

Game Overview



Brief



Get Pierre There is a

live
-
action game adventure where a Charlie
-
Chaplin
-
esque
character teaches kids about math.



The Story




Pierre is a hapless rural French farmer, who falls into a crate of goat cheese
and is shipped to New York City by accident. He wakes up in the middle of a busy
urban environment with no idea how he arrived. The user adventures along with Pierre
as he learn
s about the city, masters simple math concepts like fractions and long
division, and ultimately gets home or ‘There’.


On his quest to get 'There', Pierre

makes friends, discovers new places and learns about the basics
of 3
rd
, 4
th
, and 5
th

grade math.


T
here are some
over
-
arching themes in the show. The first is the sweet story of innocent love
between Pierre and Sofie
-
Loaf, our charming female character. They meet. They instantly have a
connection but it takes them 10 episodes to figure it out. The secon
d is the conflict between Senor Serioso
and Pierre. They are both vying for Sofie’s attention and Senor Serioso does everything he can to reduce
Pierre’s chances. He puts pickle juice in his pockets, he places banana peels in his path, whatever he can do
t
o “slip” Pierre up. The third is the wonderful

juxtaposition of the fact that while Pierre has no idea how to
work modern conveniences like elevators and cell phones, he does have the ability to fix people. Crazy

Donna, for example, is very lonely, and Pie
rre finds her a good friend to spend time with.


If the show has an “edge”, it’s the fact that Pierre doesn’t have one. His positive outlook and
innocence of city life make
him so honest and good
-
natured that he stands out in stark contrast. The city
arou
nd him is rough and often aggressive but he walks, head tall and shining, like a luminescent fish in the
dark sea.


Episode #1


Fourth Annual Cheese Ball




The first episode of this series begins with Pierre waking up in front of a building. He
has
something stuck to his face. It’s a 1/4
th

of a
n

entry ticket into the
4
th

Annual Cheese Ball across the street
.
Pierre bounds into the buil
ding. He quickly
discovers that he must find the other 3/4
ths
of the ticket before
he will be allowed to enter

the ac
tual party
. He explorers the building, makes interesting friends, l
earns
about simple fractions and, fi
nally, after he has collected all the pieces of the ticke
t, he is allowed into the
party.


The great thing about this game is that the user will be able

choose where Pierre goes. The game is
laid out much like your average RPG in the sense that the user must explore the space in order to reap the
rewards and win the levels. They start in the lobby of the building and are given the choice of where to go.
T
hey may try to speak to Sofie
-
Loaf or the Dog, or the little boy who is hiding behind the doorframe.
Depending on which character they click on, they will be treated to a different small adventure, with a
puzzle at the end that they must solve.


Simple ma
th concepts are every
where in the game and if a puzzle proves too difficult, Sofie
-
Loaf
is never to
o far away to help out. The experience

is par
t TV show, part video game, and part tutoring
session, only with the silliest tutor you’ve ever had.




To

rea
d the full outline, see
the Appendix
[click here]





Pierre

Pierre's hometown

C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


6

Future Episodes




In the first series of Get Pierre There, we will cover 3
rd

and 4
th

grade fraction concepts in a total of
10 episodes. Here are some possible titles and story i
deas for those episodes.

1)

The Secret of the Boiler Room



Pierre helps the boys find a treasure in the
basement.

2)

Trash Collection Day



Pierre helps the super go about his daily chores, and doesn’t
help.

3)

The Dog House Robbery



Pierre must find out who s
tole the dog’s favorite portrait.

4)

The Dance



Sofie
-

Loaf organizes a big dance and Pierre almost doesn’t get invited.

5)

The Old Cheese Recipe



Pierre helps the old man find a long lost French Cheese
recipe: Hint: It involves old socks.

6)

Senor Peligroso

-

Senor Serioso’s cousin comes to vis
it, and he’s even less friendly.

7)

Sofie’s No L
oafer

-

Pierre discovers Sofie
-
Loaf’s
experimental
math laboratory.

8)

What H
appened to Dog?



Dog disappears with a very important item.

9)

Pierre Gets There



The Characters


Character Philosophy


VentureShow believes that there is immense value in using live
-
action in the gaming environment.


1.

Human interaction
: Users

will interact with a real person in the real world. It is one thing to
see an animated character do crazy things and an entirely different matter to see a human
being do them. He will be charismatic and
spontaneous
.


2.

The character
s have

got real subtle
h
uman feelings
. It's not just points in a video game that
you are going for anymore.
It's love
.


3.

There's a
friendship

that happens between the user and the characters. They are bonded
through their trials.


4.

Acting performance can create
interesting subtle

e
motion inside the game, making it far more
compelling than an animated avatar.


Pierre



Pierre is the child’s avatar. He is from the countryside in France and when he arrives
in the big city, it is as if he is new to the world. He is curious, unafraid,
and in a lot of cases
clueless. Users will have to help with simple modern conveniences like elevators and cell
phones.
Pierre has an active dream life as well. Mostly, he dreams about cheese but
sometimes he has visions
of the

future
with strange

bicycles
.
He is funny, sometimes clumsy
,

and
always in need of the
user’
s help. This
will serve to endear
him to the children who play
the

game



Sofie
-
Loaf



Sofie is our teacher character. She
is the one who helps Pierre understands the
simple math concepts of the game. She also solves the puzzles simply for Pierre when he is
unable to solve them on his own.




C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


7

Senor Serioso



Senor
Serioso
is Pierre’s neme
sis. He is constantly making life ha
rder for Pierre. He
is a rival for Sofie’s love so whenever he can, he complicates the puzzles or the challenges
that Pierre faces.


Supporting Characters



There are many
odd and fascinating

supporting charact
ers for Pierre to interact with. There is a
rascally little boy, a mysterious frog
-
eating old man, a
lady named Crazy Donna who likes to hold tea
parties with her stuffed animals, and many others



The World


Get Pierre There is
set
in a
magical world

that looks
much like a New York City apartment
building but
is
different in some

very
special ways.


No

spoken words



Our characters do not speak with words. They gesture. They hem and haw. They laugh. They cry.
But they do not speak English words. This choice is mainly about aesthetics of the kind of clown we have.
The silent clown is a strong tradition a
nd one that children respond very well to. But this choice is also very
useful in terms of our market. When we do not make this world language specific we open it up to a global
market of children. Every child in the world speaks “funny” and every child in

the world needs to learn
about math.



Sound



All the sound effects in Get Pierre There are represented with musical instruments. The dog
barking, for example, may sound like the squawking of a trombone. When people shout, it sounds like
woodwinds. Cars grumble like a bowed bass. Pierre sounds like a
saxophone. Sofie

sounds
like a violin.
The world will be an orchestra and
children will enjoy the soft but elegant music

of the space.


Colors


The palette of Get Pierre There is pas
tels and subdued spring colors:




Magic



With the same dreamlike magic

of Alice in Wonderland, our world takes unexpected turns into
infini
tely large dog
houses, and trash
cans that are portals to different time zones. When Pierre opens a new
door he may be surprised to find he is in space rather than in an apartment. This
physical illogic will be a
fun p
art of the game and will inspire children to explore.


Indie Feel




The art direction vibe is what we call “kidster”. We are aiming at the children of hipsters. These 8
-
year
-
olds have parents with tattoos and skateboards
and hip
-
hop music. They understand a little grittiness
and appreciate style as personal expression. When they meet Crazy Donna, they won’t be surprised that her
hair is dyed some crazy color because their parents do that all the time.




C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


8

Gameplay



Interf
ace




The game looks a lot like a TV show. All the art ass
ets are video, so one is
watching video content
at all times. The player controls the

game by

clicking on the video itself. The controls are embedded into
the video
,

which gives a deeper sense of i
mmersion to the user. They never feel as if they are controlling
the video “inside” with controls on the “outside”. There is no overlay or content other than the content that
is playing at that particular moment.
All tools and choices are in camera which m
eans they are a

p
a
rt of the
production
shoot and not added later in post


Kinetics




Very important to this game is the kinetic quality of the video assets. With fast paced scenes and
seamless jumps at interactivity points, this game will feel as if the r
eal world

is bending to your control. No

longer are you moving a slightly awkward shaped animation around a drawn space. You are controlling a
real human being in a real place. The fluid connection between the separate video scenes will be smooth
and insta
nt.


Scoring



The game keeps tra
ck of the users progression on the frame around the video. T
he
game records where the player is within the progression of the game, and how many flowers
they have collected.


Control



The player has relatively limited control when comes to where Pierre adventures. They watch
video segments and then are given a simple binary choice of where to go next. When it comes to the
puzzles, the user has a very simple choice between 3 options, muc
h like a multiple
-
choice test. Finally, the
user can click on ‘pop
-
up’ opportunities. There are a total of 12 opportunities to click on a flower and
collect it. There are a total of 4 opportunities to make Pierre slip on the banana peel.


Progression



Th
e player has a choice about where and when to go to certain areas of the game but they must
explore all of it in order to win. The goal, for example, in the first episode is to get into the party. The
player must explore the rest of the building in order t
o get all of the tickets first. Then and only then will
they be allowed i
nto the party. The diagram in the appendix [
click here
]

shows the structure of episode 1,
wherein the player must visit Cowboys &

Indians, Apartment Lady, Old Man and the Shoe, and Trash Man
in order to collect all the tickets. Then they must send Pierre to Senor Serioso to ask if he can go into the
party and of course, Senor lets Pierre in.


This serves several purposes. The first

is that we, as game makers have a greater control over the
plot of the show and the progression of the player through the world. Second, it gives the player a focus for
their adventure. Third, it puts into place very specific gates, a
t which we can test t
he math comprehension

level of our player.


Learning



It

is very important that our players learn a little something about math along the way, and we
believe that by giving them
puzzles,

they will quickly and
effortlessly master simple math.


Our players

will

enjoy
the story of Pierre adventuring

along in the building
. They will be
entertained by exciting and surprising scenes

and then
,

every once and awhile
, they

will run into a math
problem. The player will then have to solve it. If they don’t know the
answer and they guess it wrong,
C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


9

Sofie
-
Loaf gives them a quick lesson on the concept that they missed. Then she offers the
m the

opportunity
to solve it on their own.


Levels of difficulty



In order to allow for the maximum repl
ay for
our game, we are insti
tuting a
n

option to choose
level of difficulty. At the outset of the game, the game engine will ask the player whether they want easy,
medium, or difficult
. Then depending at what level the player wishes to enter, the fraction puzzles that the
player has t
o solve are more or less challenging.


Here is an example of an easy puzzle for early 3
rd

grade level players:




Unique

Idea


What is particularly special a
bout the Get Pierre There world

is that it is all done in live
-
action.
Chil
d
ren will be
experiencing the same kind of game mechanics that they recognize from video games but
it will all be done with living breathing people on real sets. This will give the kids the feeling that they are
in a new kind of world: one that isn’t created with a com
puter but instead

peopled with

human beings just
like them.

One

of the things that makes

Sesame Street so fun
is

the
improvised
creativity of

the

puppeteers
.
Because it
is all shot in live action, that unmanufactured quality of accidental fun comes across.
The same
thing will add a special value to our game.



Conclusion




We believe that the mixture of amusing live
-
action storytelling, engaging interactivity, and simpl
e
unobtrusive learning are bound to make Get Pierre There a success.




C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


10

Market & Project Plan


Brief



We believe that an interactive, live
-
action, adventure sold directly to the US youth market is a
winning proposition because
:


1.

The size of the market


2.

T
he ascendance of interactive platforms, and


3.

The value proposition of the project itself.



Market


Size


Based on the data below
, we estimate that a product, which is both a video game and a television
show, has a potential market of somewhere between
$8 and $12 billion.


1.

The youth share (6
-
12 years old) of the total US Video Game market is 23%, worth
approximately $4 billion a year.
Gamasutra
-
12/1/11


2.

The youth (6
-
12 years old) share of the total US TV Ad revenue is 13%, worth approximately
$8 billion

a year.
Ad Age
-

6/1/11


3.

91% of US Youth (5
-
12 years old) play video games
-

NPD Group
-

10/16/11


4.

US Youth (7
-
12 years old) spend on average a 1/5th of their time watching TV. That's 3 hours
a day.
-

Mintel(c)
-

2011









Watch TV an average of 3 hrs/day
Play Video Games
Have a Video Game Console
100%

92%

80%

U.S. children 6
-

12 years old

C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


11

Ascen
dance of interactive
platforms



Along with almost total television penetration, nearly 90% Internet capability, and the arrival of
the web
-
enabled TV, smart
-
phones, and tablets, we believe that the figures below represent a market ready
and hungry for interactive content.



1.

Projections state that t
he overall tablet market, which include tablets and pc
-
tablets, will go
from the 19.7 million in 2010 to 242.3 million in 2015.
-

IHS iSuppli
-

6/1/11


2.

In 2010, US young people spent an average of 2 hours and 45 minutes at their computers per
day: (1 hours and 32 minutes playing video games, 22 minutes on social media sites, 15
minutes watching online videos.)
-

Future Watch 3/11/12


3.

Half of all US child
ren (34 million) have asked their parents for an iPad.
-

Nielsen
-

11/23/11


4.

A quarter of all European and US children between the ages of 6
-
12 own their own cell
phone.
-

Nielsen 11/23/11


5.

45% of all global Internet users are under 25 years old.
-

IUSB
-

11/1/11



Unique Value Proposition



We are proposing to be the first live
-
action video game on the app market for kids ever. No one
has ever created an educational app game with live
-
action art assets. Marry that unique quality, with our
proprietary en
gineering platform and our terrific immersive story and this app will stand out as a one
-
of
-
a
-
kind product.





Project Plan



The following project plan will ensure the quality and appeal of our product.




$10 Billion

$3 Billion

$4 Billion

Total U.S. Video Game Market $17
Billion

18 - 49yrs
50 - 70 yrs
6 - 17 yrs
C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


12

Step 1

-

Design



The story, the characters, the game structure, and all of the design elements will be drawn up in pre
-
production.


Step 2

-

Social Media Campaign



As soon as the first round of design documents are completed, we will begin a social media presence,
aimed at kids and their parents. The campaign will be delivered from the point of view of the main
character, Pierre, and will create a social presence for

our main character before production has begun.
Through this campaign we will be able to see what our audiences are responding to, and begin to build
momentum.


Step 3

-

Shoot



Utilizing inexpensive filming techniques including Green Screen and other co
st saving tools, we
will shoot the entire 2.5 hours of media in under 30 days. As the media is captured, we will release small
sections (e.g. 1 minute every couple of days) to our social media campaign. In this way we can build
interest and also watch how
our audience reacts to certain aspects of the show. Certain characters,
situations, and so on will have greater response than others and we can, in this way, gather market
information about our product as we are building it.



















Step 4
-

Editing



The editing process will be the most important aspect of our show and a smooth, efficient pipeline will
be implemented. The project will be completed, stage by stage
, in it's entirety. Again, a part of this process,
will be to release, small pieces of the project to our social media campaign. In this way, we can watch what
our audience is responding to test our product at the same time.


Step 5

-

Kickstarter



Part
of our social media campaign will be to launch a Kickstarter campaign in the middle of the editing
process. We will pre
-
sell the app to our audience and raise more awareness around the project. This will be
just one more tool that we use to gauge the produ
ct as we are making it. We can set a goal that is attainable
and then celebrate with our audience, when we go over it.


Step 5

-

Engineering and Mapping


Social Media

Production

Adjustment

Market Reaction

C
opyright (C) 2012 Pierre
-
Marc Diennet



All rights reserved



Confidential Page


12/10/2013


13

This process is relatively s
imple and the platform has

been prepared in advance.
(
Click here to see Beta
Demo
).
We believe that implementation, play testing, and completion will take under 2 months.


Step 6
-

Launch


Once we are satisfied with the product and are confident of when to release it, we will set a date for
launch and begin the process of preparing our built
-
in audience for that date. We will have a market who is
cheering and contributing to our success. The
y will feel as if they have helped to make this game, and, in
fact, they will have.


Step 7
-

Continued Social Presence


After the launch, we will continue our social presence as a marketing tool and also as a way to further
gauge reaction and build momen
tum for a sequel.


Step 8

-

Sequels


The beauty of this project, is that a lot of the assets collected in the first round of shooting will be
re
-
usable in sequel projects. For example, any and all shots done on green screen, can be re
-
used with
different
backgrounds.




Step 9


Getting off the bus



The truly appealing part of this project is that once we have proven our popularity in the
marketplace and built an audience and a clear voice, there is no doubt that a larger production company will
want to purchase the IP that we have built. The characte
r of Pierre, will be so appealing and popular that he
will be easily portable to all sorts of other projects.



Budget



VentureShow can assemble a worl
d
-
class engineering and production team for this project and
through various methods such as profit sha
ring and first look
agreements;

we can produce Episode 1
relatively cheaply. Once it is a resounding success, we will be able to keep our costs down through
economies of scale. Shooting 10 episodes in a go.
A rough sketch of the budget shows that we can ma
ke
this initial adventure for $65,000




Pre
-
Production




Design, Script, & Preparation

$5,000




Production



Costumes, Equipment, Actors

$30,000


Adventure #1
Adventure #2
Adventure #3
Adventure #4
Adventure #5
Production Costs
Marketting Costs
Audience
C
opyright (C) 2012 Pierre
-
Marc Diennet



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Confidential Page


12/10/2013


14



Editing




Music, Coloring, and Edits

$5,000




Marketing



Social Campaign, Kickstarter

$10,000




Engineering



Development & Execution


$10,000




Contingency



10% of Budget



$5,000




Revenue


Direct to Consumer



Sold directly to consumers as an iPhone/iPad

App, we will find our audience on the platforms that
the game plays the best. We can then, obviously, expand to android, web
-
based, and console platforms,
when we are successful.




App price

Distributor cut

Revenue/unit

Project Budget

Profit after # so
ld

$2.99

$0.90

$2.09

$65,000

31,100

$1.99

$0.60

$1.39

$65,000

46,762

$0.99

$0.30

$0.69

$65,000

94,202



Brand Relationships





Another revenue stream can be
brand relationships
. We can incorporate kid
-
vertical brands into
the show and raise funds
based on their participation. One obvious vertical would be Kraft Foods, because
cheese is so important to the character, Pierre. Scholastic would be another obvious partner and/or
distributor.


IP




This project is an ideal IP for an online distribution
house like Nickelodeon or Disney. Once we
prove our viability in the market place we will be able to sell the distribution and production rights to our
product.



Vision of Success



Imagine you are a 9
-
year
-
old child, playing with an iPad
. You tap on the
Get Pierre There

app and
immediately, you are greeted by Pierre, a charming
, jolly, and helpless character.
This r
eal human being,
who lives in your iPad needs you. He needs you in order
to find his way

around, to make friends, and to
disc
over new rare forms of

cheese
.
This is no ordinary video game. This is an education
al and entertaining
interactive world where kids will feel like they have control over an alternate reality.




Get Pierre There
will utilize the same techniques that made
Dora the Explorer

and
Blues Clues

successful. Pierre will encourage educational exploration and user interaction. Users will directly help this
endearing character achieve his goals.
Get Pierre There

takes this established children’s genre to the next
stage in interactive entertainment.




Get Pierre There

99¢ at the App store

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15







Appendix


Outline
: 4
th

Annual Cheese Ball


Bring Your Own


I.

Introduction

a.

Pierre, in his home town
,

finds some Chevre

in a crate

b.

He eats some and passes out.

c.

A wealthy lady arrives and buys the crate.

d.

It is closed and shipped to New York.

e.

A chef in New York opens it and finds Pierre

f.

The chef kicks Pierre out into the street.

g.

Pierre walks into a street unawares and
right
in front of a bus. Yikes! (white out)

II.

Titles
-

GET PIERRE THERE

III.

Opening of Episode #1

a.

Pierre wakes up with his head on the curb.

b.

He has half an invitation stuck to his face.

c.

He looks and says: CHEESE PARTY! THERE and there is an arrow.

d.

He looks i
n the direction of the arrow and sees above the door of the building in front of
him a banner that reads: 4TH ANNUAL CHEESE BALL! BRING YOUR OWN!

e.

Pierre is very excited. He bounds into the building.

f.

When he enters he sees in the lobby, a girl sat at a tab
le, a dog house, a boy with a feather
in his hair, and Senor Serioso in front of another door that says: 'PARTY HERE!'

g.

Pierre approaches the Senor.

h.

The Senor explains that Pierre has only half a ticket and that he needs the other half.

i.

Sofie
-
Loaf, the gi
rl from the table comes over and gives a quick visual explanation of
fractions. [Click Here]

j.

Pierre is immediately sweet on her.

k.

She sits back down and the scene ends.

IV.

Lobby
-

Hub of the game.

a.

The user has 4 main things to choose from. They must click o
n one of these in order to
continue the story. [
If you are viewing this in Word, you may g
o ahead
click on one to
navigate the story.]

i.

Sofie
-
Loaf at the table.
[click here]

ii.

The dog house.
[click here]

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16

iii.

The boy w
ith the feather.
[click here]

iv.

Senor Serioso in front of the door.
[click here]

V.

Lobby
-

2

a.

Here is where the game engine takes over but, in the meantime, you will have to act as
the game engine.

i.

If you have visite
d the Old Man but no one else:
[click here]

ii.

If you have visited the Apartment lady by no one else:
[click here]

iii.

If you have visited the Trash man and no one else:
[click here]

iv.

If you have visited the Cowboys & Indians and no one else;
[click here]

v.

If you have been to both Old Man and Apartment lady:
[click here]

vi.

If you have been to both the Cowboys and Trashman:
[
click here]

vii.

If you've seen them all:
[click here]

VI.

Senor
-

No

a.

Senor Serioso makes it clear that Pierre cannot come into the party without a complete
invitation.

b.

He also takes a picture of Sofie from his pocket and makes it clear to Pi
erre that Sofie is
his girl.
[click here]

VII.


Senor
-

Yes

a.

Senor Serioso looks at the invitation that Pierre hands him. He counts very clearly all the
pieces.

b.

When he is satisfied that Pierre has a whole invitation, he tells Pierre th
at he must solve
one last puzzle before he can enter.
[click here]

c.

Then she shows Pierre how to collect flowers in the game.

d.

She decides to enter the party and she pulls out her complete invitation. She gives it to
Senor Serioso and
he opens the door but before she goes in. She blows Pierre a kiss. She
goes in and the door closes.

e.

The kiss that she blew swims around the room like a butterfly and finally smacks Pierre
right on the cheek. He passes out cold.
[c
lick here]

VIII.

Flower

a.

Sofie
-
Loaf teaches Pierre how to pick flowers. The picking of flowers is a fun game
mechanic where flowers will be in a shot for 3
-
5 seconds and if you click on them, they
go into your flower box in the upper right corner of the screen.
Ultimately, at the end of
the game, Sofie
-
Loaf counts the number of flowers that Pierre has collected and gives
him a reward.

b.

If the user clicks on Sofie anytime after the flower lesson, she gives Pierre lessons on
fractions.

c.

Pierre returns to the lobby [
click here
]

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17

IX.


Dog #1

a.

Pierre is not very comfortable with dogs and, as he approaches the doghouse, he can hear
growls.

b.

He knocks on the roof. The dog comes out. It growls at him.

c.

Frightened but cheerful he smiles.

d.

This only serves

to make the dog angrier. He growls again.

e.

Pierre over compensates and smiles bigger?

f.

The dog barks and gnashes his teeth.

g.

Pierre is too frightened. He runs and the dog gives chase.

h.

Pierre runs up some stairs.

i.

The dog runs up some stairs.

j.

Pierre runs down some stairs.

k.

The dog runs down some stairs.

l.

Pierre runs up some stairs.

m.

The dog doesn't follow.

n.

Pierre peeks back down the stairs.

o.

The dog comes chasing and Pierre runs even faster up the stairs.

p.

Pierre comes to a landing and flatten
s himself against a wall to hide.

q.

There is a flower that is clickable next to his head.

r.

He sees an old man, wearing only one shoe, struggling to catch his other one. The man
can barely bend down to reach for the shoe and when he does, it hops away. The m
an
nearly looses his balance.

s.

Pierre feels for the old man.

t.

Pierre looks the other way and sees a lady peeking out of her apartment door. As soon as
they see each other she opens the door further and gestures emphatically that Pierre hide
in her apartmen
t. Pierre is not sure about her.

u.

The dog barks. Pierre is afraid the dog is coming. He must make a choice.

i.

Old Man
[click here]

ii.

Apartment lady
[click here]

X.


Dog #2

a.

Pierre approaches the doghouse, tentatively, but this time, he hears no growling.

b.

He knocks again on the doghouse roof. No response.

c.

He decides to crawl into the doghouse.

d.

When he emerges on the other side, he realizes that it is much bigger on the insi
de than it
looks. It's a gorgeous upper west side apartment with portraits of dogs on the walls and
bronze doggie bowls.

e.

He sees Sofie
-
Loaf hanging a picture. She smiles.

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f.

He has an opportunity to collect a flower that is sat on a table.

g.

The dog emerges
and is annoyed that Pierre has entered his home. He barks.

h.

This frightens Pierre and he runs around a corner in the apartment and emerges.....

i.

If the user has already been to the OLD MAN puzzle than
[click here]

j.

If the user has already been to the APARTMENT LADY than
[click here]

XI.


Dog
-

No

a.

Pierre knocks the dog house and a dog paw emerges and places a "Do Not Disturb" sign
on a hook outside the door.

b.

The game engine sends Pierre back to the

lobby hub
. [click here]

XII.

Boy #1

a.

The boy, dressed as an American Indian, smiles slyly as Pierre approaches. Pierre shows
him half his ticket and boy nods and gestures for Pierre to follow.

b.

Unsure exactly where they are going, Pierre d
ecides to go with him.

c.

The boy leads Pierre up some stairs and Pierre follows.

d.

There is a flower, that is clickable on the wall as Pierre passes.

e.

The boy leads Pierre down some stairs and Pierre follows.

f.

The boy leads Pierre down some more stairs but t
his time he hides and Pierre passes him
unknowingly and continues down into the basement.

g.

The boy snickers.

h.

Pierre finds himself in the gloomy basement. He's lost.

i.

He runs into the Trashman, who is huge.

j.

At first Pierre is frightened but then the big t
rashman smiles and Pierre realizes he is not
threatening.

k.

The trashman continues down the corridor.

l.

Pierre sees the boy, hiding around a corner. As soon as the boy thinks he's been spotted,
he waves a 1/8th piece of invitation at Pierre and then he hides

behind the corner again.

m.

Pierre turns and sees the Trashman reach down and pick up something.

n.

It's an 1/8th of the invitation! The trashman puts it in his shirt pocket.

o.

Pierre must choose.

i.

Chase the boy
[click here]

ii.

Follow the t
rashman
[click here]

XIII.

Boy #2

a.

Pierre approaches the boy again. This time he's more skeptical but the boy, in turn, is
more friendly.

b.

He doesn't lead Pierre to the stairs. Instead, they go to the elevator.

c.

When the elevator door opens, the boy enters and hands Pierre a puzzle card.

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19

d.

Pierre looks at it. It's two fractions added together to make a number, but what is the
number?

e.

When Pierre looks up the elevator doors have closed.

f.

Pierre doesn't know how to u
se an elevator so he tries to get his hands in the seams. He
struggles for a while.

g.

Then Sofie
-
Loaf taps him on the shoulder and shows him how to press the button.

h.

The elevator arrives and Pierre enters happily. When he turns however, to see if Sofie is
coming with, she is gone. Then the doors close with him on the inside.

i.

There is a flower that is clickable on the inside door of the elevator.

j.

Pierre looks at the puzzle again. [click here] He must figure out the answer and then press
the correct number.


k.

When he does press the correct number the elevator starts to move, then abruptly stops
and the lights go out.

l.

If the user has been to the COWBOYS & INDIANS puzzle,
[click here]

m.


If the user has been to the TRASHMAN puzzle,
[click here]

XIV.

Boy
-

No

a.

The boy greets Pierre in a friendly way but throws up his hands as if to say "I got nothing
for ya."

b.

The boy points over at the dog house.
[click here]

XV.


Cowboys & Indians.

a.

Pierre comes around
the corner of the basement corridor and instead of finding the boy,
he finds 4 of boys, armed and ready to take prisoners.

b.

Pierre smiles sheepishly.

c.

Cut to Pierre, tied to a pole, with the boys, like something out of Lord of the Flies, doing
a ritualisti
c dance around the helpless Frenchman.

d.

There is a flower that's clickable in the wide shot of this scene.

e.

They poke at Pierre. They investigate his fanny pack. The boy reaches in and pulls out a
piece of stinky cheese.

f.

The boys smell it and are disguste
d and throw it back in the pouch.

g.

The boy reaches in and finds ¼ of the ticket. Pierre begs. The boys take it anyway.

h.

The boy reaches in and pulls out a baguette. The baguette really shouldn't have been able
to fit in that pouch.

i.

The boys are a little c
onfused but they eat the baguette.

j.

The boy reaches in and pulls out a red bicycle.

k.

The boys are amazed.

l.

They aren't going to burn Pierre up after all.

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20

m.

They will let him go and give him back his ticket, if he can solve this simple puzzle.
[click here]

XVI.

Trash man's life.

a.

Cut to the janitor's closet. Dimly lit but homey.

b.

The Trash man has fixed it up as well as a poor bachelor can.

c.

He still has 1/8th of the invitation in his shirt pocket.

d.

He is talking to someone, we th
ink, as he combs his hair.

e.

But alas, the camera moves and reveals he is talking to a potted flower. It is clickable.

f.

He is terribly lonely.

g.

The lid on the trash bin rises and we see Pierre, he is hiding in the trash bin, waiting for
an opportunity to gr
ab the invite. His hand comes up and reaches over the Trash man's
shoulder but the trash man looks over and Pierre pulls his hand away quickly.

h.

The trash man doesn't notice him.

i.

Pierre tries again but this time the trash man grabs his hand and pulls him
up and out of
the bin.

j.

The trashman is big and strong enough to hold Pierre by the arm above the ground.

k.

The trash man wants to know why Pierre was hiding.

l.

Pierre uses his free hand to point to the invitation in the trash man's pocket.

m.

"Oh" thinks the
trashman. He takes out the piece of invitation with the other hand.

n.

He drops Pierre and indicates that he can have the piece if he solves this simple puzzle.
[click here]

XVII.

The Old Man

a.

Pierre approaches the old man and asks him if he c
an help.

b.

The old man is glad to have his assistance. He points at the shoe.

c.

Pierre reaches down for it but it hops away.

d.

Pierre reaches again and it hops.

e.

Pierre does this for as long as it remains funny until finally he has to leap with his whole
body

to trap the shoe.

f.

Pierre gets it. He reaches into the shoe and finds an enormous bull frog.

g.

Pierre, please with himself, stands and turns to return the shoe to the old man, but the old
man looks at the shoe and thinks "no, I didn't want this." He throw
s it over his shoulder.
Maybe it crashes some plates. He gestures to the frog.

h.

"Oh" thinks Pierre and he gives the man his pet frog.

i.

The old man pets the frog on the head sweetly but then throws it into a hot frying pan
'Sizzle!'

j.

Pierre is shocked.

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k.

Cut to the two of them standing over a steaming Cruesot. The old man lifts the pot lid and
inside is a beautiful assortment of cooked frog legs.

l.

He offers Pierre a frog leg. Pierre declines but gestures to the 1/8th of invitation in the old
man's pocket.

m.

The old man makes it clear that he can have the invitation piece if he answers this simple
puzzle.
[click here]

XVIII.

Apartment Lady

a.

Pierre tentatively enters the lady's apartment.

b.

As soon as he does, however, she takes over.

c.

She shuts t
he door.

d.

She leads him, pretty firmly
,

into her dining area.

e.

She sits him at a table with two teddy bears that have been dresse
d up in frilly style for a
tea
party.

f.

She puts costume pieces on him.

g.

Pierre tries to protest

but it all happens so fast, he
doesn't have time.

h.

Soon, he is covered in costume pieces surrounded by stuffed animals, having tea.

i.

The apartment lady is clearly in need of friends and she moves the arms and heads of all
the teddy bears as if they are all having a conversation.

j.

She mo
ves faster than is humanly possible.

k.

Finally, she
puts a small plate in front of Pierre. It has 1/4
th

of a ticket on it.

l.

Pierre reaches for it but the lady gestures no and then points to a puzzle

m.

She makes it clear that he c
an have the piece if he
solves it
.
[click here]

XIX.

The Party!

a.

Senor lets him in and confetti cannons explode and the party gets crazy!

b.

Pierre is thrilled to recognize all the characters from the story.

c.

Everyone is enjoying nice slices of cheese.

d.

There are ban
ners.

e.

He sees that the boys have enlisted the old man and they are putting a feather band
around his head and teaching him to step like a Native American.

f.

He sees the Trashman in one corner and the Apartment lady in another.

g.

He whispers something in the ear of the Trashman and he looks up at the apartment lady.
They fall instantly in love.

h.

Then Pierre spots Sofie
-
Loaf. She is standing at the cheese table.
[click here]

XX.


Flower Endings.

a.

Sofie
-
Loaf is so

pleased that Pierre has solved all the puzzles.

b.

Pierre thinks of one more thing that will impress her.

c.

He takes out the flowers he has collected on his travels and presents them to her.

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22

d.

Sofie counts them very carefully.

e.

If he has collected

i.

1
-
3
[click here]

ii.

4
-
6
[click here]

iii.

7
-
9
[click here]

iv.

All 10
[click here]

XXI.

1
-
3 Flowers:

a.

She counts them and thanks him sweetly.

b.

Pierre is really chuffed. He turns away but he throws

his arm up, as if to stretch and then
drops it over her shoulder casually, you know.

c.

But she has gone and it's Senor Serioso who's shoulder he is now draped across.

d.

Pierre turns to get a kiss and they both grimace and look at the camera

e.

THE END.

XXII.

4
-
6 Fl
owers.

a.

Sofie is very pleased and she offers Pierre a piece of delicious cheese.

b.

They eat together.

c.

Pierre is about to move closer when Senor Serioso moves in and ruins the romantic
atmosphere. Ugh!

d.

THE END.

XXIII.

7
-
9 Flowers.

a.

Sofie

is thrilled and she gives Pierre a hug.

b.

Pierre is over the moon.

c.

Senor Serioso sees this and starts to break them up but the boys capture him.

d.

Cut to Senor Serioso tied to a post with the boys and old man doing a dance around him.

e.

Sofie
-
Loaf and Pierr
e standing together enjoying this sight.

f.

THE END.

XXIV.

10 Flowers!

a.

Sofie
-
Loaf leans in and gives Pierre a cute peck on the cheek.

b.

THE END.

c.

WAIT! You think it’s the end but since you got ten flowers, you get a little scene in
which Sofie
-
Loaf and Pierre are
dancing like maniacs!

XXV.

APPENDICES

a.

Fall Down Button

i.

Four times in our game there appears for a few seconds a button, in camera, that
has a banana peel on it. If the user is quick enough to click on it before it
disappears, they will trigger a banana peel seq
uence wherein Pierre, wherever he
happens to be will slip inadvertently on a banana peel and fall down in some

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b.

Kaching!

i.


Whenever Pierre solves a puzzle, there is a celebration sequence where he
jumps in the air and flails about like a ridiculous fool. It
’s shot only once and it
plays a total of 7 times in the game. We’ll call it the Kaching! moment.

c.

Sofie
-
Loaf Lesson #1

i.

Sofie explains that if you take a whole and you split it into 2 pieces. That’s a
half. Then if you split both those pieces again, those
are quarters. She explains
that Pierre needs 4 quarters to complete the ticket. When she is finished she
sends him back to the lobby.
[click here]

d.

Sofie
-
Loaf Teaching #2

i.

Sofie gives another quick lesson on fractions.

ii.

She shows how y
ou can build up to a whole by adding quarters to each other.

e.

Sofie
-
Loaf leading suggestions.

i.

Sofie

is also a presence in the game in a leading way. She will lead the user in a
certain direction and suggest that they do certain things gently. It’s a way of
helping the user along in the game.

f.

Elevator Puzzle

i.

This is a fraction addition puzzle.

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ii.

Solved
[click here]

g.

PUZZLE 1

i.


ii.

Solved
[click here]

h.

PUZZLE 2

i.


ii.

Solved
[click here]

i.

PUZZLE 3

i.


ii.

Solved
[click here]

j.

PUZZLE 4

i.


ii.

Solved
[click here]

k.

PUZZLE 5

i.


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ii.

Solved
[click here]






Scene Map


Game Flow Chart





Concept Art



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The
Lobby





Cowboys & Indians





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The Old Man


Crazy Donna



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28

The Party