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Story-Telling / Re: CLY Project
« Last post by O. Ryner on December 14, 2025, 18:37:49 »Format of the Carthage Game Series
One of the greatest challenges when turning a La Línia game into an audiovisual series is, paradoxically, its very nature: the games are long and dense, and most of the images we have were taken without any thought of future editing. For this reason, in the Carthage Game series we have chosen a mixed format that combines real photographs from the game with aesthetic recreations of the main events.
These recreations are not intended to “beautify” the story, but to give it a visual voice more faithful to its true scale, allowing us to represent scenes that at the time could not be recorded with the quality they deserved, or were not recorded at all. We will build sets, scenes, and figures to recreate key moments: the founding of Carthage, the journey of the first settlers, the birth of the Carthaginian calendar, or the arrival of the Mortarius on the central continent.
The goal is not to reconstruct the past with documentary accuracy, but to recover its emotional truth: what the players lived, imagined, and felt during the game.
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On the Use of AI in the Series
The CLYcuerva project is built upon a fundamental idea: the game overflows. From that overflow are born myths, songs, chronicles, banners, genealogies… and also images.
In the series, we will use AI in a limited and very specific way, solely to create artistic representations of the internal myths and narratives of the game. Not to replace the real game, but to give visual form to that which, by its very nature, could never be photographed:
how the Carthaginians imagined Cartar transformed into a tiger;
how the Iliotes envisioned the creation of the world;
how the Costanovese remembered the voyage of their ancestors across the sea.
These images will be treated as ancient paintings, as cultural interpretations. They are not “photos of the world,” but traces of the imaginary of the civilizations that were born within the game.
The Role of Myth in La Línia
In La Línia, myth is never an ornament. It is the first form of historical thought to emerge in every civilization.
Each people tries to explain its origin, justify its present, and often correct its past.
Myth is memory before memory, and it is also politics: a tool through which players and their Clicks give meaning to what they experience turn by turn.
In the Carthage Game, this was especially evident. Before writing, before the first enduring building, before the city even received its name, there were already stories passed around campfires, exaggerated with each generation, traced in the sand and erased at dawn.
History was born when the Carthaginians sought to fix what, until then, had existed only in their voices.
In the series, myth will have its own space: not as literal truth, but as the way a people understands itself.
An example of this can be found in this fragment from the first episode of the Carthage Game series:
https://www.youtube.com/watch?v=jUFPCYIyVYw
One of the greatest challenges when turning a La Línia game into an audiovisual series is, paradoxically, its very nature: the games are long and dense, and most of the images we have were taken without any thought of future editing. For this reason, in the Carthage Game series we have chosen a mixed format that combines real photographs from the game with aesthetic recreations of the main events.
These recreations are not intended to “beautify” the story, but to give it a visual voice more faithful to its true scale, allowing us to represent scenes that at the time could not be recorded with the quality they deserved, or were not recorded at all. We will build sets, scenes, and figures to recreate key moments: the founding of Carthage, the journey of the first settlers, the birth of the Carthaginian calendar, or the arrival of the Mortarius on the central continent.
The goal is not to reconstruct the past with documentary accuracy, but to recover its emotional truth: what the players lived, imagined, and felt during the game.
On the Use of AI in the Series
The CLYcuerva project is built upon a fundamental idea: the game overflows. From that overflow are born myths, songs, chronicles, banners, genealogies… and also images.
In the series, we will use AI in a limited and very specific way, solely to create artistic representations of the internal myths and narratives of the game. Not to replace the real game, but to give visual form to that which, by its very nature, could never be photographed:
how the Carthaginians imagined Cartar transformed into a tiger;
how the Iliotes envisioned the creation of the world;
how the Costanovese remembered the voyage of their ancestors across the sea.
These images will be treated as ancient paintings, as cultural interpretations. They are not “photos of the world,” but traces of the imaginary of the civilizations that were born within the game.
The Role of Myth in La Línia
In La Línia, myth is never an ornament. It is the first form of historical thought to emerge in every civilization.
Each people tries to explain its origin, justify its present, and often correct its past.
Myth is memory before memory, and it is also politics: a tool through which players and their Clicks give meaning to what they experience turn by turn.
In the Carthage Game, this was especially evident. Before writing, before the first enduring building, before the city even received its name, there were already stories passed around campfires, exaggerated with each generation, traced in the sand and erased at dawn.
History was born when the Carthaginians sought to fix what, until then, had existed only in their voices.
In the series, myth will have its own space: not as literal truth, but as the way a people understands itself.
An example of this can be found in this fragment from the first episode of the Carthage Game series:
https://www.youtube.com/watch?v=jUFPCYIyVYw
well done for getting the one you wanted first try! (I can't see any IMGUR photos - i just get a "content not viewable in your region" image instead 
