1. List of key words that will need to be deciphered: Numbers 1-10, bomb, weapon, human, north, south, east, west
2. List of things needed for puzzles: Nerf Gun, target, audio clips of raath intelligence, cards with raath-english translations, a blueprint map of raath base (to be used in the recording device puzzle)
3. PUZZLE 2 UPDATE – the recording devices are now photographic instead of audio recorders. makes the whole translation thing easier. 

Players must shoot at targets to reveal the translations for important phrases in raath language. these phrases will then help them to translate intercepted messages from the raath regarding the location of the bomb and how to defuse it. WILL NEED: nerf gun, target

On a map of raath HQ’s, the special ops personnel must decide where they place the tiny recording devices that will then be the keys to the puzzles following. perhaps this is a good idea for the first task post-training. player will be given blueprints of the buildings/areas the raath reside in and be expected to strategically place recording devices based on the kind of microphone they would use (directional, condenser), and where they would place said microphone to maximise the quality, and the amount of intelligence they can retrieve from specific sites. The results of these tasks will then affect the quality/quantity of the information presented to them in the tasks proceeding.

Learning key words of raath language – this puzzle lays the foundations for the rest of the spec ops puzzles. it teaches key words in understanding  rate language and will help the player be able to decipher more in depth use of the language in later episodes. perhaps run the puzzle like a bit of a quiz. their are a number of documents with rate writing and english translations/pronunciations. then the players are faced with a number of audio files of raath speech. the puzzle requires them listening to the files, cross-checking with the documents to find out what the rate are saying, and then inputting a translation into the answer box. completion of this task is necessary to complete special ops training within the resistance, as covert espionage operations are a big part of the job.

Could do a puzzle in which one must learn a tiny fragment of the raath language. splice and warp the sections of speech that is supposedly ‘raath conversation’ about where they are placing the bomb. players must learn the necessary amount of language before then piecing together the warped audio and figuring out exactly when and where this will be going down. Timing should be imperative of the puzzle, need to find a way to make the timing of someones answer affect the outcome of the result.

An audio puzzle that must be deciphered. A bunch of recorded clues that have all been cut up and warped in some way so that the message is unable to be heard. Player needs to order the audio snippets in the correct order and unwrap them in order to find out an imperative part of the narrative . It would be cool if this challenge were completed on a website in which the timing of the players deciphering was a catalyst in deciding the outcome of the puzzle results.

We need to sort out some sort of central ‘puzzle hub’. Without this the whole narrative is going to be too disjointed and the entire project will lack necessary cohesion. Workout whether we’re going to have physical puzzles? if so, how do we make these widely available? if not, how do we streamline all puzzle ideas to one central digital hub?

When I first started writing my short story I was a little anxious about the task. I had never written a short story and for the first couple of days struggled to find anything at all to write about. The idea of writing a story has never seemed like a simple task to me. Having a holistically flowing piece of work that is both engaging as well as concise seemed like a fairly arduous task, however, as I began to write the task became less and less daunting by the minute.

Brander Matthews wrote in his piece ‘The Philosophy of the Short-story’, “compression is essential”. This is something I considered the whole time whilst writing my story. I found myself repeatedly re-reading and re-writing sentences, making sure to omit all but the necessary information. This is something that made Roald Dahl’s ‘The Lamb and the Slaughter’ particularly interesting, it was entirely “self-contained” and had a “unity of impression”. The idea for my story came from a line from Matthews piece in which he said that the short-story “fulfills the three false unities of the French classic drama: it shows one action, in one place, on one day.” This is what inspired the timeframe for my story, which occurs over an estimated 20-minutes in real time.

my work is aiming to show (this idea?) _______ through showing a song in it’s most deconstructed form. This is a proposition from (this particular?) theory that i am trying to demonstrate.