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The Art of Game Design – A Book
of LensesChapter 15-16
Mats Wouters
Chapter 15One Kind of Experience is the Story
Traditionally: Story <-> Gameplay Early games were like traditional games More and more games with combination of
story and gameplay
One Kind of Experience is the Story
Gameplay ruinsa good story. <->
Games with story have been cheapened.
One Kind of Experience is the Story
“Story and gameplay arelike oil and vinegar. Theoretically they don’t mix, but if you put them in a bottleand shake them up real good, they’re pretty good on a salad. ”
-Bob Bates-
Story does add to gameplay Thick or subtle Abstract game: make up your own story
One Kind of Experience is the Story
Fundamentally, interactive storytelling = non-interactive storytelling
Decisions are made in both Interactive: ability to take action Interactive storyteller must anticipate
player’s actions
One Kind of Experience is the Story
Never complete freedom-> limited options
What works:◦ The String of Pearls◦ The Story Machine
One Kind of Experience is the Story
The String of Pearls (A.K.A. Rivers and Lakes):◦ Non-interactive story segment followed by
gameplay-> gameplay followed by non-interactive
story segment◦ Nice balance
One Kind of Experience is the Story
The Story Machine:◦ System that generates stories through interaction◦ Players string together events◦ No author -> no real stories?
One Kind of Experience is the Story
When players have different choices about how to achieve goals, new and different stories can arise. How can I add more of these choices?
Different conflicts lead to different stories. How can I allow more types of conflict to arise from my game?
When players can personalize the characters and setting, they will care more about story outcomes, and similar stories can start to feel very different.
How can I let players personalize the story? Good stories have good interest curves. Do my rules
lead to stories with good interest curves? A story is only good if you can tell it. Who can your
players tell the story to that will actually care?
Lens #65: The Lens of the Story Machine
The Problems:◦ Good Stories Have Unity
Story is one from beginning to end; multiple endings can feel watered down
◦ The Combinatorial ExplosionChoices lead to same conclusion to prevent too many outcomes
◦ Multiple Endings DisappointNot all endings are equal
One Kind of Experience is the Story
The Problems:◦ Not enough verbs
Games consist mostly around actions; not ideal for branching storytelling
◦ Time Travel Makes Tragedy ObsoleteInteractivity means no inevitability
One Kind of Experience is the Story
Goals, Obstacles, and Conflicts◦ Character (player) has goal, has to face obstacles
and conflicts◦ Surprising, engaging◦ Obstacles not congruent with goal -> bad story
One Kind of Experience is the Story
What is the relationship between the main character and the goal? Why does the character care about it?
What are the obstacles between the character and the goal?
Is there an antagonist who is behind the obstacles? What is the relationship between the protagonist and the antagonist?
Do the obstacles gradually increase in difficulty? Some say “The bigger the obstacle, the better the story.
” Are your obstacles big enough? Can they be bigger? Great stories often involve the protagonist transforming
in order to overcome the obstacle. How does your protagonist transform?
Lens #66: The Lens of the Obstacle
Provide Simplicity and Transcendence◦ Game worlds are simpler than reality and provide
the player with more power◦ Popular themes:
Medieval Futuristic War Modern
One Kind of Experience is the Story
How is my world simpler than the real world? Can it be simpler in other ways?
What kind of transcendent power do I give to the player? How can I give even more without removing challenge from the game?
Is my combination of simplicity and transcendence contrived, or does it provide my players with a special kind of wish fulfillment?
Lens #67: The Lens of Simplicity and Transcendence
Consider the Hero’s Journey1. The Ordinary World2. The Call to Adventure3. Refusal of the Call4. Meeting with the Mentor5. Crossing the Threshold6. Tests, Allies, Enemies7. Approaching the Cave8. The Ordeal9. The Reward10. The Road Back11. Resurrection12. Returning with the Elixir
One Kind of Experience is the Story
Does my story have elements that qualify it as a heroic story?
If so, how does it match up with the structure of the Hero’s Journey?
Would my story be improved by including more archetypical elements?
Does my story match this form so closely that it feels hackneyed?
Lens #68: The Lens of the Hero’s Journey
Put Your Story to Work◦ Adjust the story to beter suit the rest of the game
Keep Your Story World Consistent◦ If you have a set of rules that define how things
work in your world, stick with them, and take them seriously
One Kind of Experience is the Story
Make Your Story World Accessible◦ Accessibility for audience > Reality◦ Integrate weird things in a way that doesn’t make
them seem weird-> normal thing in an unusual world
One Kind of Experience is the Story
What’s the weirdest thing in my story? How can I make sure that the weirdest thing
doesn’t confuse or alienate the player? If there are multiple weird things, should I may be
get rid of, or coalesce, some of them? If there is nothing weird in my story, is the story
still interesting?
Lens #69: The Lens of the Weirdest Thing
Use Clichés Judiciously◦ Feel free to use clichés, but don’t overuse them
Sometimes a Map Brings a Story to Life◦ Stories can form not only through words, but
through visuals as well
One Kind of Experience is the Story
Does my game really need a story? Why? Why will players be interested in this story? How does the story support the other parts of the
tetrad (aesthetics, technology, gameplay)? Can it do a better job?
How do the other parts of the tetrad support the story? Can they do a better job?
How can my story be better?
Lens #70: The Lens of Story
Chapter 16Story and GameStructures can beArtfully Merged withIndirect Control
When do my players have freedom of action? Do they feel free at these times?
When are they constrained? Do they feel constrained at these times?
Are there any places I can let them feel more free than they do now?
Are there any places where they are overwhelmed by too much freedom?
Lens #71: The Lens of Freedom
Feeling of freedom Best of two worlds: player has freedom,
designer has control Possible through indirect control
Story and Game Structures can be Artfully Merged with Indirect Control
Indirect control methods:◦ Constraints
Give the player a limited amount of options
◦ Goals Clear goals can lead the player
◦ InterfaceGives the player a sense of what they can and cannot do
◦ Visual DesignLayout can control a player’s actions
◦ CharactersGood characters can motivate the player
◦ MusicCan give the player an idea of what to do
Story and Game Structures can be Artfully Merged with Indirect Control
Ideally, what would I like the players to do? Can I set constraints to get players to do it? Can I set goals to get players to do it? Can I design my interface to get players to do it? Can I use visual design to get players to do it? Can I use in-game characters to get players to do
it? Can I use music or sound to get players to do it? Is there some other method I can use to coerce
players toward ideal behavior without impinging on their feeling of freedom?
Lens #72: The Lens of Indirect Control
Collusion:◦ Multiple design aspects used for unified effect
Story and Game Structures can be Artfully Merged with Indirect Control
What do I want the player to experience? How can the characters help fulfill this
experience, without compromising their goals in the game world?
Lens #73: The Lens of Collusion