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Fundamentals of Game Design, 2nd Edition
by Ernest Adams
Chapter 7: Storytelling and Narrative
Chapter 7 Storytelling and Narrative 2© 2009 by Pearson Education, Inc.
Objectives
Discuss why stories are important to video games and know the definitions of story and narrative in games
Know the differences in player actions, in-game events, and narrative. Understand how to use story, character, and narrative to engage the player
Chapter 7 Storytelling and Narrative 3© 2009 by Pearson Education, Inc.
Objectives (Cont.)
Describe the difference between linear and nonlinear storytelling
Design a foldback, nonlinear story with multiple endings
Understand how you can use episodic storytelling to encourage players to subscribe to additional versions of your franchise
Chapter 7 Storytelling and Narrative 4© 2009 by Pearson Education, Inc.
Why Put Stories in Games?
Stories add entertainment Stories attract a wider audience Stories maintain players’ interest in long
games Stories help sell the game
Chapter 7 Storytelling and Narrative 5© 2009 by Pearson Education, Inc.
Why Put Stories in Games? (Cont.)
Story should not be more important than gameplay
Factors when considering how much story to include: Length of the game Focus on individual characters Degree of realism Emotional richness
Chapter 7 Storytelling and Narrative 6© 2009 by Pearson Education, Inc.
Key Concepts
A story is an account of a series of events Requirements of good stories:
A good story must be credible, coherent, and dramatically meaningful
An interactive story includes three kinds of events: Player events In-game events Narrative events
Chapter 7 Storytelling and Narrative 7© 2009 by Pearson Education, Inc.
Key Concepts (Cont.)
Narrative is the part of the story told to the player by the designer
Primary function of narrative is to present events over which the player has no control Narrative may be in the form of a movie, cut-scenes,
scrolling text, or voiceover Narrative must be interruptible Balance narrative with action to keep players interested
Agency is the player’s power to change the future of the story. Also called dramatic freedom.
Chapter 7 Storytelling and Narrative 8© 2009 by Pearson Education, Inc.
Key Concepts (Cont.)
Dramatic tension and gameplay tension Dramatic tension
Something important is at stake. What will happen? Dramatic tension comes from the plot Fades in the presence of randomness and repetition
Gameplay tension Something important is at stake. What will happen? Gameplay tension comes from the challenges
(gameplay) Tolerates randomness and repetition for much longer
Chapter 7 Storytelling and Narrative 9© 2009 by Pearson Education, Inc.
The Storytelling Engine
Weaves together the gameplay and the story How does it work?
Receives triggers from the core mechanics to track the player’s progress
Presents each narrative block at the correct time Sends triggers to the core mechanics when the
current narrative block is done
Chapter 7 Storytelling and Narrative 10© 2009 by Pearson Education, Inc.
The Storytelling Engine (Cont.)
Chapter 7 Storytelling and Narrative 11© 2009 by Pearson Education, Inc.
Linear Stories
They require less content than nonlinear ones
The storytelling engine is simpler
They are less prone to bugs and absurdities
They are capable of greater emotional power
They deny the player dramatic freedom
They reduce the replay-value of the game
Player can’t change the story – no agency Challenges are part of the story Pros and cons of linear stories:
Chapter 7 Storytelling and Narrative 12© 2009 by Pearson Education, Inc.
Nonlinear Stories
Branching stories – a lot of agency Provide a different experience when different
choices are made Player has an immediate, deferred, or cumulative
effect on the game More expensive and complicated to build than
linear stories The player must play repeatedly to see all the
content
Chapter 7 Storytelling and Narrative 13© 2009 by Pearson Education, Inc.
Nonlinear Stories (Cont.)
Foldback stories – limited agency Compromise between branching and linear
stories Plot branches, but the branches fold back into a
single inevitable event Offer players some agency without the cost and
complexity of a branching story Easiest nonlinear story type to devise and most
commercially successful
Chapter 7 Storytelling and Narrative 14© 2009 by Pearson Education, Inc.
Nonlinear Stories (Cont.)
Emergent narrative Storytelling produced entirely by player actions
and in-game events—story emerges from act of playing
More agency because the sequence of events is not fixed by a story structure
Puts a perhaps impossible burden on the core mechanics to produce credible stories
At present, no commercial games use purely emergent narrative
Chapter 7 Storytelling and Narrative 15© 2009 by Pearson Education, Inc.
Nonlinear Stories (Cont.)
Endings Include multiple endings to provide an outcome
that reflects the player’s dramatic actions Should provide an emotionally satisfying
conclusion Use multiple endings if each one will wrap up the
story in a way consistent with player’s choices and play
Don’t include them just because you can. Have a reason.
Chapter 7 Storytelling and Narrative 16© 2009 by Pearson Education, Inc.
Granularity
Frequency of presenting narrative to the player
Large granularity reflects less frequent narrative blocks
Small granularity reflects more frequent narrative blocks
Chapter 7 Storytelling and Narrative 17© 2009 by Pearson Education, Inc.
Mechanisms for Advancing the Plot
Story as a series of challenges or choices Plot advances as the player meets challenges or
makes choices Common method of plot advancement
Story as a journey Arriving at a location triggers plot movement Provides novelty Player controls the pace
Chapter 7 Storytelling and Narrative 18© 2009 by Pearson Education, Inc.
Mechanisms for Advancing the Plot (Cont.)
Story as a drama Storytelling engine advances the plot Player cannot control the pace Not a common method
Chapter 7 Storytelling and Narrative 19© 2009 by Pearson Education, Inc.
Emotional Limits of Interactive Stories Story needed to arouse complex emotions Emotional limits of nonlinear stories
Alternate endings might not be the most powerful Designers often create a single ending so players
experience emotionally satisfying end Emotional limits of avatar-based games
Avatar should survive Companions can die
Chapter 7 Storytelling and Narrative 20© 2009 by Pearson Education, Inc.
Scripted Conversations and Dialog Trees Use a dialog tree to design scripted
conversations Choosing from several possible responses
injects the player’s personality Player’s choices can affect the core
mechanics Core mechanics and character attributes can
affect what happens in the dialog
Chapter 7 Storytelling and Narrative 21© 2009 by Pearson Education, Inc.
When to Write the Story
Make a list of episodes or levels during the concept stage
Write the story during the elaboration stage
Chapter 7 Storytelling and Narrative 22© 2009 by Pearson Education, Inc.
Other Considerations
Remember that you are creating an interactive game, not writing a novel
Sequels are a vital source of income Creating episodes and delivery systems
could provide more income in the future
Chapter 7 Storytelling and Narrative 23© 2009 by Pearson Education, Inc.
Summary
You should now understand Why stories are important in games How to use story, character, and narrative to
immerse the player How to distinguish between linear and nonlinear
stories How to design a foldback, nonlinear story with
multiple endings How to use episodic storytelling to encourage
player subscriptions