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Interactivity versus Interactivity versus Narrative:Narrative:
This Time It’s War!This Time It’s War!
Ernest W. AdamsErnest W. AdamsGame Design ConsultantGame Design Consultant
Approaches to Interactive Approaches to Interactive StorytellingStorytelling
Linear story punctuated by periods Linear story punctuated by periods of gameplayof gameplay
Branching storylinesBranching storylines Independent, interwoven strands Independent, interwoven strands
seen as questsseen as quests Series of puzzles that advance the Series of puzzles that advance the
plot as they are solvedplot as they are solved
Linear Story Punctuated by Periods Linear Story Punctuated by Periods of Gameplayof Gameplay
Story and gameplay are separate.Story and gameplay are separate. Player only sees more of the story Player only sees more of the story
by completing missions.by completing missions. If you fail a mission, the story stops.If you fail a mission, the story stops.
Starcraft Starcraft is a classic example.is a classic example.
MissionSTORY
Mission Mission MissionSTORY STORY STORY
Branching StorylinesBranching Storylines
Story and gameplay are separate.Story and gameplay are separate. Player advances the story by completing Player advances the story by completing
missions.missions. If you win, the story goes one way. If you lose If you win, the story goes one way. If you lose
it goes the other. Sometimes it does not it goes the other. Sometimes it does not matter.matter. However, the number of options must be limited.However, the number of options must be limited.
Wing Commander Wing Commander is the classic example.is the classic example.
FinalBattle
Victory
Defeat
Interwoven Strands Offered as Interwoven Strands Offered as QuestsQuests
One large story, many small ones.One large story, many small ones. Small stories are optional quests.Small stories are optional quests.
Player can abandon a quest he is not Player can abandon a quest he is not interested in.interested in.
Commonly used in role-playing games.Commonly used in role-playing games. Baldur’s Gate Baldur’s Gate is a good example.is a good example.
Location Location LocationMAINSTORY
MAINSTORY
OptionalQuest
OptionalQuest
Series of Puzzles that Advance the Series of Puzzles that Advance the PlotPlot
Unlike the linear story punctuated by Unlike the linear story punctuated by missions, in this case the puzzles are part of missions, in this case the puzzles are part of the story.the story.
This is the classic adventure game This is the classic adventure game mechanism.mechanism.
LucasArts’ LucasArts’ Monkey Island Monkey Island games are a good games are a good example.example.
STORY
Puzzle Puzzle Puzzle Puzzle Puzzle Puzzle Puzzle
The Story as a (Linear) Jigsaw The Story as a (Linear) Jigsaw PuzzlePuzzle
Everything must fit together.Everything must fit together. This is how the reader This is how the reader
understandsunderstands and and believesbelieves what is what is happening.happening.
This is also how the reader feels This is also how the reader feels emotionally satisfied.emotionally satisfied.
STORY
READER
The Story as a (Linear) Jigsaw The Story as a (Linear) Jigsaw PuzzlePuzzle
If a piece is missing, or the wrong If a piece is missing, or the wrong piece is there, then the reader is piece is there, then the reader is confused or will not like the story.confused or will not like the story.
STORY(part missing)
READER ?
!
!
!
STORY(wrong part)
The Movie The Movie CasablancaCasablanca
Made in 1942, during World War II.Made in 1942, during World War II. One of the best movies ever made.One of the best movies ever made. The script was not finished before The script was not finished before
they started filming the movie.they started filming the movie. This is very unusual.This is very unusual. The writers were writing new scenes The writers were writing new scenes
the day before they were filmed.the day before they were filmed. The writers did not know how it The writers did not know how it
would end!would end!
The Setting of The Setting of CasablancaCasablanca
The town of Casablanca, French Morocco.The town of Casablanca, French Morocco. The time: 1941, during World War II.The time: 1941, during World War II.
Casablanca is technically part of neutral Casablanca is technically part of neutral France, but the Germans have a powerful France, but the Germans have a powerful influence.influence.
Many refugees from the war are trying to Many refugees from the war are trying to escape to Lisbon (truly neutral) and then on escape to Lisbon (truly neutral) and then on to America.to America.
To leave they must have a visa or a “Letter of To leave they must have a visa or a “Letter of Transit” (a document allowing anyone to go).Transit” (a document allowing anyone to go).
The Chief of Police is corrupt. He sells visas The Chief of Police is corrupt. He sells visas for money.for money.
The Major Characters in The Major Characters in CasablancaCasablancaIlsa Lund
Victor Laszlo Rick Blaine
Resistance heroIlsa’s husband
Runs a club in CasablancaIlsa’s old lover
In English this iscalled a “love triangle.”
The Background of the StoryThe Background of the Story
Victor Laszlo is a hero of the Czech Resistance.Victor Laszlo is a hero of the Czech Resistance. He is married to Ilsa Lund. This is a secret.He is married to Ilsa Lund. This is a secret. Before the movie begins, he was captured and taken Before the movie begins, he was captured and taken
to a German concentration camp. to a German concentration camp. Ilsa was told that Victor was dead.Ilsa was told that Victor was dead.
Later, Ilsa met Rick Blaine in Paris just before Later, Ilsa met Rick Blaine in Paris just before the Germans marched in.the Germans marched in. They became lovers. Rick does not know about They became lovers. Rick does not know about
Victor.Victor. Ilsa was going to escape with Rick on the train.Ilsa was going to escape with Rick on the train. Ilsa suddenly learned that Victor was alive, and she Ilsa suddenly learned that Victor was alive, and she
did not go with Rick. She did not tell him why.did not go with Rick. She did not tell him why.
The Background of the StoryThe Background of the Story
Rick Blaine now runs a bar and Rick Blaine now runs a bar and casino in Casablanca.casino in Casablanca. He is still unhappy from being He is still unhappy from being
abandoned by Ilsa. He does not know why abandoned by Ilsa. He does not know why she left him.she left him.
He does not care about anything or He does not care about anything or anyone.anyone.Rick does not want to be involved in the war.Rick does not want to be involved in the war.Rick says he will never take a risk to help anyone Rick says he will never take a risk to help anyone
else.else. Rick has two Letters of Transit.Rick has two Letters of Transit.
The Minor Characters in The Minor Characters in CasablancaCasablanca
French Chief of PoliceLouis Renault
German head of the GestapoMajor Strasser
The Background of the StoryThe Background of the Story
Chief of Police Louis Renault is corrupt. Chief of Police Louis Renault is corrupt. If there is a crime he does not want to If there is a crime he does not want to
investigate, he always says, “Round up investigate, he always says, “Round up [arrest] the usual suspects.” He does not look [arrest] the usual suspects.” He does not look for the real criminal.for the real criminal.
He does not like the Germans, but he is afraid He does not like the Germans, but he is afraid of them. He will not give or sell Victor Laszlo of them. He will not give or sell Victor Laszlo a visa.a visa.
Major Strasser is the local head of the Major Strasser is the local head of the German Secret Police.German Secret Police. He is trying to stop Victor Laszlo from leaving.He is trying to stop Victor Laszlo from leaving.
The Situation Near the End of the The Situation Near the End of the MovieMovie
Victor and Ilsa have arrived in Victor and Ilsa have arrived in Casablanca.Casablanca. They are hoping to go to America.They are hoping to go to America. They meet Rick by accident.They meet Rick by accident. Victor does not know that Ilsa and Rick Victor does not know that Ilsa and Rick
were lovers.were lovers. Rick does not know that Ilsa and Victor Rick does not know that Ilsa and Victor
are married.are married. Rick and Ilsa discover that they still Rick and Ilsa discover that they still
love each other.love each other. Now the writers have a big problem!Now the writers have a big problem!
Who Should Ilsa Go With?Who Should Ilsa Go With?
If Ilsa goes with Rick…If Ilsa goes with Rick… Rick can use his Letters of Transit to take Rick can use his Letters of Transit to take
Ilsa away.Ilsa away. Ilsa must leave her husband, a Resistance Ilsa must leave her husband, a Resistance
hero.hero. If Ilsa goes with Victor…If Ilsa goes with Victor…
Rick must give his Letters of Transit to Rick must give his Letters of Transit to them.them.
Ilsa and Rick will never see each other Ilsa and Rick will never see each other again.again.
Both men have very strong emotional Both men have very strong emotional connections to Ilsa.connections to Ilsa.
How Do They Get Away?How Do They Get Away?
Louis will not do anything to help.Louis will not do anything to help. The Germans will do anything to stop The Germans will do anything to stop
them.them. Something must happen to force the Something must happen to force the
situation.situation. Victor can do nothing without being caught Victor can do nothing without being caught
by the Germans.by the Germans. Ilsa does not know what to do.Ilsa does not know what to do. Rick wants to keep Ilsa for himself.Rick wants to keep Ilsa for himself.
Someone must do something… but what?Someone must do something… but what?
Now we find out!
What Did the Writers Do?What Did the Writers Do?
They said, “Round up the usual They said, “Round up the usual suspects!”suspects!”
From this you can solve the puzzle.From this you can solve the puzzle. ““Round up the usual suspects.” means that Round up the usual suspects.” means that
there will be a crime, but the criminal will there will be a crime, but the criminal will escape.escape.
What crime?What crime? Somebody will be killed. Murder is the major Somebody will be killed. Murder is the major
dramatic crime.dramatic crime. Who will be killed?Who will be killed?
Who do we all hate? We all hate Who do we all hate? We all hate Major Strasser.Major Strasser. If Major Strasser dies, then Victor can escape.If Major Strasser dies, then Victor can escape.
What Did the Writers Do?What Did the Writers Do?
Who will kill Major Strasser?Who will kill Major Strasser? Victor? No. He is a refugee, he does not have the Victor? No. He is a refugee, he does not have the
power.power. Ilsa? No. She is also a refugee, and she is not a killer.Ilsa? No. She is also a refugee, and she is not a killer. Captain Renault? No. He is afraid of the Germans.Captain Renault? No. He is afraid of the Germans. Rick? Rick? Yes. Yes. Because Rick understands that he must Because Rick understands that he must
now fight.now fight. Who will Ilsa go with?Who will Ilsa go with?
Rick? Rick? No. No. Because even though she loves him, the war Because even though she loves him, the war is more important. And Rick is now a criminal.is more important. And Rick is now a criminal.
Victor? Victor? Yes.Yes. Because he needs her to help him in his Because he needs her to help him in his work.work.
It was possible to write a different story, It was possible to write a different story, but there was no time and no money.but there was no time and no money.
CasablancaCasablanca Is A Great Story Is A Great Story
The ending is The ending is believeable believeable and and emotionally satisfying.emotionally satisfying.
The pieces all fit together perfectly.The pieces all fit together perfectly. It could have been different, but that It could have been different, but that
would have required more filming.would have required more filming.
MOVIE
VIEWER !!!Rick
makes Ilsa go
with Victor
CRIME:Rick kills Major
Strasser
“Round up the usual suspects.”
THE END
What does thishave to do withinteractivity?
NOTHING!
Why Why Casablanca Casablanca Cannot Be An Cannot Be An Interactive StoryInteractive Story
Casablanca Casablanca is a great movie, but the is a great movie, but the author must have total control of it.author must have total control of it. Like a jigsaw puzzle, there is only one way Like a jigsaw puzzle, there is only one way
that it works.that it works. But games are about giving the control But games are about giving the control
to the to the playerplayer.. If the player can change If the player can change CasablancaCasablanca, the , the
emotional power of the story is destroyed.emotional power of the story is destroyed.
MOVIERick
makes Ilsa go
with Victor
CRIME:Rick kills Major
Strasser
“Round up the usual suspects.”
THE END
Emotional Limits of Interactive Emotional Limits of Interactive EntertainmentEntertainment
Freedom allows the player to make choices Freedom allows the player to make choices that feel emotionally that feel emotionally wrong.wrong. What if the player wants Ilsa to kill Victor and What if the player wants Ilsa to kill Victor and
become the lover of Major Strasser? become the lover of Major Strasser? Emotional limits of a single avatar Emotional limits of a single avatar
character:character: Like a first-person book, the player knows that Like a first-person book, the player knows that
the avatar is not supposed to die in the middle the avatar is not supposed to die in the middle of the story.of the story.
Emotional limits caused by replayability:Emotional limits caused by replayability: If something happens that the player does not If something happens that the player does not
like, he just reloads and try again.like, he just reloads and try again. Emotional power comes from the fact that Emotional power comes from the fact that
there are things we there are things we cannot cannot change. change. Ilsa must Ilsa must always always leave Rick and go with Victor.leave Rick and go with Victor.
Three Problems for Interactive Three Problems for Interactive StorytellersStorytellers
The Problem of Internal The Problem of Internal ConsistencyConsistency
The Problem of Narrative FlowThe Problem of Narrative Flow The Problem of AmnesiaThe Problem of Amnesia
““Amnesia” is a medical condition.Amnesia” is a medical condition. It means that you cannot remember It means that you cannot remember
who you are, where you live, or what who you are, where you live, or what happened to you in the past.happened to you in the past.
The Problem of Internal ConsistencyThe Problem of Internal Consistency
How do you make sure the player fits the How do you make sure the player fits the jigsaw puzzle together correctly?jigsaw puzzle together correctly?
Suppose the player’s avatar is Superman.Suppose the player’s avatar is Superman. Can Superman ignore someone who needs Can Superman ignore someone who needs
help?help? No. Superman always helps. Otherwise he is not No. Superman always helps. Otherwise he is not
Superman.Superman. What if the player What if the player wants wants to ignore someone to ignore someone
who needs help?who needs help? Either the player changes the nature of Superman, or…Either the player changes the nature of Superman, or… We take the player’s freedom away.We take the player’s freedom away.
Do we want a correct jigsaw puzzle, or do Do we want a correct jigsaw puzzle, or do we want the player to have freedom?we want the player to have freedom?
The Problem of Narrative FlowThe Problem of Narrative Flow
Every story has a dramatic climax.Every story has a dramatic climax. Long stories have smaller ones as Long stories have smaller ones as
well.well. How can you be sure the player is How can you be sure the player is
ready for the dramatic climax ready for the dramatic climax when it happens? when it happens?
ACTION IN A SHORT STORY ACTION IN A LONG STORY
DRAMATIC CLIMAX
Setting Up a Dramatic ClimaxSetting Up a Dramatic Climax
In a book or a movie, the author has In a book or a movie, the author has total control.total control. The author makes sure that all things, The author makes sure that all things,
people, events, etc. are in the right people, events, etc. are in the right situation for the dramatic climax.situation for the dramatic climax.
In a game, there is one character the In a game, there is one character the designer does designer does not not control: the player!control: the player! The designer cannot The designer cannot make make the player do the player do
things.things. If the player has freedom, it is hard to If the player has freedom, it is hard to
make the narrative flow correctly, to make the narrative flow correctly, to make sure the dramatic climax will make sure the dramatic climax will work.work.
Solution #1 to the Problem of Solution #1 to the Problem of Narrative FlowNarrative Flow
Limit the interactivity somehow.Limit the interactivity somehow. Disconnect the interactivity from the story.Disconnect the interactivity from the story.
Don’t allow the player to change the story.Don’t allow the player to change the story.This happened in This happened in Starcraft.Starcraft.
Give the player interactivity, but it does Give the player interactivity, but it does nothing.nothing. It only feels like it affects the story, but really it does It only feels like it affects the story, but really it does
not.not. Kill the player if he leaves the story you made!Kill the player if he leaves the story you made!
Dragon’s Lair Dragon’s Lair (old arcade game): Only one correct (old arcade game): Only one correct decision at each point. Make the wrong choice and you decision at each point. Make the wrong choice and you die.die.
Not really a good solution. The player Not really a good solution. The player wantswants interactivity! That is why he is interactivity! That is why he is playing!playing!
Solution #2 to the Problem of Solution #2 to the Problem of Narrative FlowNarrative Flow
Allow the world to continue around the Allow the world to continue around the player.player. This permits interesting worlds that feel alive.This permits interesting worlds that feel alive. Even if the player does nothing, the story goes Even if the player does nothing, the story goes
on.on. If the player is not ready, he loses the If the player is not ready, he loses the
game!game! The game is really a time-challenge.The game is really a time-challenge. The player must achieve every task before the The player must achieve every task before the
dramatic climax happens.dramatic climax happens. Not a good solution. The player loses the Not a good solution. The player loses the
game a lot, because he is not ready.game a lot, because he is not ready. He has to start over again and again and again…He has to start over again and again and again…
Solution #3 to the Problem of Solution #3 to the Problem of Narrative FlowNarrative Flow
Tie the movement of the story to the Tie the movement of the story to the player’s actions. This is the adventure player’s actions. This is the adventure game solution.game solution. When the player does the right thing, the When the player does the right thing, the
story goes forward.story goes forward. When the player does the wrong thing, or When the player does the wrong thing, or
nothing, the story just waits.nothing, the story just waits. The dramatic climax only happens when The dramatic climax only happens when
the player has done everything necessary.the player has done everything necessary. This works, but it feels mechanical.This works, but it feels mechanical.
The story stops and starts all the time.The story stops and starts all the time.
The Problem of AmnesiaThe Problem of Amnesia
The people The people in in a story live in their world.a story live in their world. They know what is in the world, how it works.They know what is in the world, how it works. They do not have to explore it.They do not have to explore it.
The player comes into the world from The player comes into the world from outside.outside. The player does The player does not not know what is in the know what is in the
world.world. He has He has amnesiaamnesia: no memory of being here : no memory of being here
before.before. The player must explore everything and talk The player must explore everything and talk
to everyone in order to understand it.to everyone in order to understand it. This is not normal for a story!This is not normal for a story!
Three Problems for Interactive Three Problems for Interactive StorytellersStorytellers
Here are the problems again:Here are the problems again: The Problem of Internal ConsistencyThe Problem of Internal Consistency The Problem of Narrative FlowThe Problem of Narrative Flow The Problem of AmnesiaThe Problem of Amnesia
What can we do about them?What can we do about them? Unfortunately, not very much.Unfortunately, not very much.
These problems are caused by the These problems are caused by the fundamental nature of narrative fundamental nature of narrative itselfitself..
Interactivity and NarrativeInteractivity and Narrative
There is a tension between There is a tension between interactivity and narrative.interactivity and narrative.
Narrative is about the Narrative is about the author’s controlauthor’s control.. The The authorauthor must have must have authorauthority.ity. The author takes you by the hand and The author takes you by the hand and
leads you through the story.leads you through the story. Interactivity is about the Interactivity is about the player’s player’s
freedomfreedom.. The player chooses his own path through The player chooses his own path through
the story.the story.
Is It Really a War?Is It Really a War?
No.No. Interactivity and narrative are not in Interactivity and narrative are not in conflict.conflict. They are in an They are in an inverse relationship.inverse relationship.
The more you have of one, the less you have of the other.The more you have of one, the less you have of the other. You must find the right You must find the right balance balance between them.between them.
INTERACTIVITY NARRATIVE
My Suggestion for a SolutionMy Suggestion for a Solution
Interactivity and narrative work Interactivity and narrative work together to entertain the player.together to entertain the player. Some games need no narrative, like Some games need no narrative, like TetrisTetris.. Narrative with no game is a book or movie.Narrative with no game is a book or movie.
Interactivity lets people do things they Interactivity lets people do things they could not really do. I think this is why could not really do. I think this is why they play.they play. People play games to feel freedom and People play games to feel freedom and
power.power. Narrative sets the scene and creates Narrative sets the scene and creates
the world they play in.the world they play in.
Think About These Two Kinds of Think About These Two Kinds of PeoplePeople
Soldiers in the trenches in World War I.In the war, but no freedom at all.
A wealthy businessman in Peruduring World War I.
Total freedom, but not in the war.
Who Is In Between Them?Who Is In Between Them?
A commando…A commando… A resistance A resistance
fighter…fighter… A spy…A spy…
Someone who is Someone who is involved in an involved in an important situation, important situation, and also has the and also has the power to make a power to make a difference in it.difference in it.
Sidney Reilly“Ace of Spies”
Our Role as DesignersOur Role as Designers
I believe that we should not try to I believe that we should not try to telltell stories.stories. If the player wants to hear a story, he can read a If the player wants to hear a story, he can read a
book or watch a movie.book or watch a movie. I believe it is our role to I believe it is our role to create worlds in create worlds in
which stories can happen.which stories can happen. We create the context – the world – then we give We create the context – the world – then we give
the player freedom within that world.the player freedom within that world. This is why This is why Grand Theft Auto III Grand Theft Auto III is so important.is so important.
It is a world in which the player can experience many It is a world in which the player can experience many stories.stories.
This is what MMORPGs like This is what MMORPGs like Lineage Lineage already do.already do.
Games that separate interactivity and Games that separate interactivity and narrative are only temporary solutions. narrative are only temporary solutions. They are not true interactive narratives.They are not true interactive narratives.
My Dream for Interactive NarrativesMy Dream for Interactive Narratives
MissionSTORY
Mission Mission MissionSTORY STORY STORY
In a true interactive narrative you In a true interactive narrative you cannot tell the difference between cannot tell the difference between the story and the action.the story and the action. We can do this now in a limited way.We can do this now in a limited way. Half-Life Half-Life is a good example.is a good example.
The Future of Digital StorytellingThe Future of Digital Storytelling
I believe our goal for Digital I believe our goal for Digital Storytelling is to duplicate the function Storytelling is to duplicate the function of a Dungeon Master in a role-playing of a Dungeon Master in a role-playing game.game. The Dungeon Master creates the world…The Dungeon Master creates the world… ……but he also can but he also can change change the world (and the world (and
the story opportunities) in response to the the story opportunities) in response to the player’s interests.player’s interests.
This is called “Automated Storytelling.”This is called “Automated Storytelling.” It needs artificial intelligence about stories It needs artificial intelligence about stories
and gameplay.and gameplay. It is our most important challenge.It is our most important challenge. It may take another 20 or 50 years.It may take another 20 or 50 years.
Thank You!Thank You!
Thank you to…Thank you to… Wook, KOH Wook, KOH Sang Hyo, YUK Sang Hyo, YUK In Hwa, LeeIn Hwa, Lee Bong Kwan, CHUNBong Kwan, CHUN … … and the Digital Storytelling Society.and the Digital Storytelling Society.
And thank you to…And thank you to…YOU!YOU!
… … for giving me the honor of for giving me the honor of listening to me.listening to me.
A Short Commercial AnnouncementA Short Commercial Announcement
I have written a I have written a book:book:Andrew Rollings and Andrew Rollings and Ernest Adams on Ernest Adams on Game Design.Game Design.
It is being translated It is being translated into Korean now, into Korean now, and will be available and will be available in mid-November.in mid-November.
I have a small I have a small number of English number of English copies here for sale copies here for sale for 50,000 Won.for 50,000 Won.
[email protected]+44-1483-237599
I’m a member of
Interactivity versus Interactivity versus Narrative:Narrative:
This Time It’s War!This Time It’s War!
Ernest W. AdamsErnest W. AdamsGame Design ConsultantGame Design Consultant
