Starting with Theme
INTRODUCTION.
"Storytelling is at the heart of everything we do."
"We provide story-driven designs."
"It all starts with story."
In the realm of themed entertainment design, such phrases have become ubiquitous - perhaps to the point of cliche. That is not to suggest there is anything wrong with the expressions themselves. Quite the opposite is true, actually, as the essence of each statement has incredible depth and meaning.
But, if we as creative professionals truly “say what we mean” and “do what we say”, then what should our day-to-day efforts actually entail? If we proclaim such words as truth and are sincere in our desire to uphold story-centric values, what real-world implications does that have for our work? How should projects be structured? What processes should we actually employ?
Despite the best intentions, all too often a disconnect exists within our industry between the principles we say drive projects and the actual reality of getting work done. And perhaps no better example of this exists than how we apply (or fail to apply) the core concept of THEME.
STARTING WITH THEME.
This is a biggie. Theme is foundational. It governs story, gives meaning to things, and brings unity to otherwise disparate elements. And yet for the absolute importance it holds, theme is possibly the most misunderstood (and misused) narrative component utilized in the development of designed experiences.
In an essay series posted to his Instagram a few years back, Joe Rohde put forth a truly apt analysis of theme. The intention here is not to rehash what he so eloquently presented (it's a must-read - links provided below), but there are a few quotes of his that stand out for purpose of discussion...
"[Theme] is not a subject, like pirates, nor a surface treatment like 'stone wall'."
"Theme is the foundational set of ideas, and sometimes emotions, upon which all subsequent design and narrative decisions are predicated. Theme must come first. [...] It’s the standard of judgment by which you decide whether something belongs."
“Many designers ignore theme and proceed directly to images or gags or plot lines. Don't. It's bad. [...] The rules of good storytelling don't change, which is why it's a good idea to follow them - starting with theme.”
The last statement is a particularly difficult pill to swallow. It's an unfortunate reality, but "starting with theme" more often is the exception and not the norm.
Consider a stereotypical example: developing a concept for a new experience. The subject matter is known, time is tight, and the client is clamoring to see progress. What happens? One member of the design team gathers reference images. Another writes a paragraph or two overviewing the backstory / plot. And yet another begins to lay out the space via bubble diagrams. The parts are collected, placed unto a slide deck, and presented as a concept.
These steps work. If they didn't, teams wouldn't employ them. But are they at all logical or intellectually justified? Can we, in good faith, say they are reflective of any established process for creating narrative-driven work?
It would be highly irrational to develop an image by having multiple artists (each with their own preferences, tools, and palettes) render specific elements in isolation and then work to reconcile the negative spaces in-between - hoping that, in the end, all the individual efforts result in a well-orchestrated and cohesive composition. And yet, quite regularly, this is exactly how we approach the initial stages of our work - work we claim to be rooted in story.
As professionals, we obviously have the ability to intuit connections between various forms of expression and eventually work them into a creative whole. But that is a relatively backward and arbitrary approach. Experience design is narrative design. Before we make any decisions about what a story is (how it’s expressed visually, spatially, etc.), we must know what the story is about. A common foundation must first be laid and everything else then built upon it...
We must start with THEME.
Theme is the underlying message conveyed through a creative work that ultimately unifies its various parts. Theme establishes moral order - defining the rules / values that govern a created world. What is right, wrong, good, bad? Theme answers these questions. It serves not only as the anchor of the design, it is the reason any part of the design exists at all.
And while theme may officially reside under the purview of "story work", it has impacts far beyond narrative. It works as a guide-map for designers and is the standard by which to judge all creative decisions. Instead of relying on subjective opinions, preferences, etc., theme renders decisions from an objective point-of-view. Questions like, “Does this artistic choice feel right?”, are reframed as, “Does this align with the values we’ve established for this world?”. With (an agreed upon) theme guiding the way, it is immeasurably easier to discern “what should be in” and “what should be out” for a given project. It’s not about what anyone wants it to be, it’s about what the theme requires it to be.
When all elements of a creative act are developed from and exist as manifestations of theme, an inherent consistency and connectedness exists within the combined work. By its very nature, it is thematically cohesive. For that very reason, it is imperative that theme (and the design assertions we make to express / manifest the theme) be known to every member of a design team. Theme must be understood and embraced so that the work of each individual serves as a direct expression of it. And through that clarity, the experience of each guest re-expresses the theme, as well.
Theme cannot be understated. It guides the creation, and appreciation, of design. It is what makes designed experiences have meaning at all.
Theme is essential.
THEORY AND REALITY.
Creative ambitions are only one of many competing priorities that must be considered within experience design. Operational, financial, and maintenance factors (among many others) must all find equilibrium for projects to be successful. Given these circumstances - and for our work to undeniably be driven by story - "starting with theme" must not be constrained to the realm of idealistic design theory but practiced as part of the tangible, every-day reality of delivering projects.
However, many common aspects of project work (and the means by which we handle them) are often what stand in opposition to and actively diminish our capacity to apply proper narrative development…
Time
Time is obviously a major factor. When in abundance, we are keen to provide all that is possible. But when deadlines press and contractual obligations must be met, non-essential tasks quickly find themselves on the cutting room floor. There are priorities - with efforts squarely divided into "must-have" and "nice-to-have" camps. Regrettably, thematic work is often grouped into the latter and sacrificed for the sake of time.
Contractual Deliverables
As timelines compress, there is also a tendency to work toward checking boxes for deliverables. We become so laser-focused on delivering the end-products (renderings, plans, etc.) that we undermine, or even ignore, the prerequisite steps that elicit said deliverables and produce higher-quality results.
But it's not just time that plays a role. The contractual agreements we make with clients also bear responsibility. In legally-binding verbiage, we tend to not prioritize thematic development. Contracts quantify, categorize, and describe in great detail the visuals to be provided. But when it comes to story work, efforts are regularly clumped into overly-generic terms ("conceptual narrative strategy", "overall storyline narrative", etc.) - which typically translates to little more than a few paragraphs detailing the experience's plot.
Design Criteria | Programmatic Requirements
Very rarely do projects begin with a completely blank canvas. Certain parameters - whether it be the subject matter, the physical footprint, or the type of activity / attraction being employed - are commonly provided as design criteria that we must incorporate. This is by no means negative; but how we perceive and apply the requirements certainly can be. When major components are known from the onset of projects, they are prone to become enshrined as central tenets of the work - taking lead roles in the development instead of being part of the supporting cast.
AS PROFESSIONALS, WE MUST PROFESS.
The factors above, as well as a score of others, are all bound by a common thread. And that unifying feature also happens to be the solution…
Within the imperfect world of projects, it's understandable why notions such as "starting with theme" go awry so easily. But, as creative professionals, we must not assume a reactive stance toward these tendencies. Conversely, we must be proactive and emphatically profess the fundamental principles of our art form by how we regularly conduct our work.
We may not always have control over the time allotted for projects, but through the use (and prioritization) of our time we can assert that thematic development is absolutely essential. No matter the timeframe, it must stand as the first and non-negotiable step. We must set aside the space required for this critical work and then determine how the rest comes to fruition. And in instances of genuine time deficit, we must speak up as the experts - acknowledging when there are truly not enough hours to develop and produce quality creative outcomes.
For thematic development to ever realistically serve as the foundation of our work, we must also ensure that the agreements we make with clients are structured to reflect this explicit purpose. In writing and in action, we must place emphasis on story work - allowing adequate time for project phases to unfold and to deliver creative output that clearly articulates the indispensable value of theme. We must be as rigorous (if not more so) with the elements of story as we are with visuals and other common deliverables.
And in everything we do - regardless of the parameters, design criteria, or situations that arise - we must champion the cause of proper narrative development. We must assert ourselves as the authorities on story - continually expanding our knowledge of time-honored concepts and boldly applying them to all facets of our work.
CONCLUSION.
Like many professional domains, experience design is structured as an infinite game. No one can ultimately "win" at what we do; the goal is simply to continue playing. And for those of us presently in the game, we are responsible for its stewardship. We advance the art form by investing in and holding each other accountable for our collective work.
It is a harsh truth, but many of us often rely on less-than-optimal habits and perpetuate (what is actually) poor design process. Our efforts cannot be rooted in opinion, intuition, or personal preference. They must be driven by something more concrete, more disciplined... To ultimately be successful, we as an industry must come to understand and methodically employ the unwavering principles of narrative - starting with THEME.
For then, and only then, can we imbue genuine meaning into the words and unequivocally profess that...
"Storytelling is at the heart of everything we do".
Essays on Theme - Joe Rohde