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Storytelling and Narrative Storytelling and Narrative By: Thanus Mohanarajan and By: Thanus Mohanarajan and Diego Valdivia Diego Valdivia

Storytelling and Narrative - McMaster Universityse3gb3/SE3GB3/2012/slides/Chapter 7 - Storytelling... · Storytelling Engine communication and updates about the game status are sent

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Storytelling and NarrativeStorytelling and Narrative

By: Thanus Mohanarajan and By: Thanus Mohanarajan and Diego ValdiviaDiego Valdivia

IntroductionIntroduction

stories have developed into rich experiences of retelling eventsstories have developed into rich experiences of retelling events, both , both real and imaginaryreal and imaginary

Examples: classical poetry, religious and mythological text, Examples: classical poetry, religious and mythological text, playwrights and novelistsplaywrights and novelists

things didnthings didn’’t start well in video game storytelling t start well in video game storytelling

long way to go if it wants to achieve literary status like novellong way to go if it wants to achieve literary status like novels and s and scripturescripture

The Great DebateThe Great Debate

Are stories and narrative Are stories and narrative elements necessary in video elements necessary in video games?games?Tetris, Asteroids, and PongTetris, Asteroids, and PongHowever, these games have However, these games have one thing in common; they were one thing in common; they were developed during the early developed during the early stages of gamingstages of gamingModern games need the Modern games need the complexity of narrative in order complexity of narrative in order to complement the complexity of to complement the complexity of gameplay and environments.gameplay and environments.

Enhance EntertainmentEnhance Entertainment

require a contextual environment in which require a contextual environment in which a player needs to partake and believe ina player needs to partake and believe inprovide a sense of progress and provide a sense of progress and accomplishment accomplishment Sports Games Sports Games –– Exhibition vs. Regular Exhibition vs. Regular Season vs. Playoffs vs. Championship Season vs. Playoffs vs. Championship GameGameRPG Games RPG Games –– Spawning Characters vs. Spawning Characters vs. Final BossFinal Boss

Attract Wider AudienceAttract Wider Audience

ensure more gamers; gameplay will automatically draw ensure more gamers; gameplay will automatically draw in gamersin gamersadded incentive of a added incentive of a ““goodgood”” story will attract more story will attract more gamers who might have dismissed the game beforehandgamers who might have dismissed the game beforehandmodern games should incorporate some sort of narrativemodern games should incorporate some sort of narrative

Keep Gamer InterestKeep Gamer Interest

story can push gamers story can push gamers to play their games for to play their games for longer durations of longer durations of timetime

smaller games that smaller games that involve only high involve only high scores may not entice scores may not entice gamers if they had gamers if they had complicated storiescomplicated stories

MarketingMarketing

Gameplay isnGameplay isn’’t easily t easily marketablemarketable

Inclusion of characters, Inclusion of characters, taglines, synopsises, or taglines, synopsises, or environment artwork will be environment artwork will be required to get potential required to get potential gamers to buy their gamesgamers to buy their games

Example: MarketingExample: Marketing

Example: MarketingExample: Marketing

When To Put Stories In Games?When To Put Stories In Games?

depends on the genre of gamedepends on the genre of game

Tetris, Space Invaders and Pong donTetris, Space Invaders and Pong don’’t t need a story to garner any success, and need a story to garner any success, and can serve as a distractioncan serve as a distraction

successful game needs to find a balance successful game needs to find a balance between story and gameplaybetween story and gameplay

Design Rule: Gameplay Comes FirstDesign Rule: Gameplay Comes First

Factors to ConsiderFactors to Consideri) Lengthi) LengthShorter games donShorter games don’’t need a story, just a context to play the game int need a story, just a context to play the game inLonger games will need a story to keep longevity of gameplay andLonger games will need a story to keep longevity of gameplay andplayer interest.player interest.

ii) Degree Of Realism ii) Degree Of Realism level of abstraction to a game can affect the type of narrative level of abstraction to a game can affect the type of narrative used in used in the games. the games. Characters usually decide what level of story is necessary: raciCharacters usually decide what level of story is necessary: racing ng games are realistic but dongames are realistic but don’’t really require a storyt really require a story

Factors to ConsiderFactors to Consider

iii) Charactersiii) Charactersavataravatar--based, or central characters require back stories and a based, or central characters require back stories and a narrative to invest time in the gamenarrative to invest time in the game

iv) Emotional Richnessiv) Emotional Richnessmore relevant to single player gamesmore relevant to single player gamessimple achievements and gameplay tension (will be discussed latesimple achievements and gameplay tension (will be discussed later) r) are not enough for players to continue playing the gameare not enough for players to continue playing the gamecharacters and story are triedcharacters and story are tried--andand--true componentstrue components

Key ConceptsKey Concepts

a) Storya) StoryDefinition: retelling or an account of a series of Definition: retelling or an account of a series of events (fictional and nonevents (fictional and non--fictional)fictional)

b) Narrativeb) NarrativeDefinition: text or the discourse produced by the act Definition: text or the discourse produced by the act of narration (retelling of a story by an overseer, or of narration (retelling of a story by an overseer, or external agent), it is nonexternal agent), it is non--interactive and the player interactive and the player has no influence in the events to comehas no influence in the events to come

Story Story -- CredibilityCredibility

accuracy of a nonaccuracy of a non--fictional retelling fictional retelling believability of a fictional story are criteria that believability of a fictional story are criteria that need to be met by game designersneed to be met by game designers““suspension of disbeliefsuspension of disbelief””A good writer will set up the world in a way so A good writer will set up the world in a way so the participant is integrated into the experience the participant is integrated into the experience Three Dimensional characters with developed Three Dimensional characters with developed back stories and personalities back stories and personalities creating the illusion of purpose and creating the illusion of purpose and consequence with virtual beingsconsequence with virtual beings

Story Story -- CoherencyCoherency

thematic structure of a story and its elements thematic structure of a story and its elements must be relevant to each other and not seem must be relevant to each other and not seem arbitraryarbitrary

appropriate tangents are accepted, but nothing appropriate tangents are accepted, but nothing that will distract the gamerthat will distract the gamer

Story Story –– Dramatic MeaningfulnessDramatic Meaningfulness

With more relevancy to characters, this technique details With more relevancy to characters, this technique details the importance of a story that has relatable characters the importance of a story that has relatable characters that the gamer will come to care aboutthat the gamer will come to care aboutempathy should not be forced (aka melodrama) empathy should not be forced (aka melodrama) accepted form of empathy should come through naturally accepted form of empathy should come through naturally in the story development, as the gamer will set the tone in the story development, as the gamer will set the tone for their experience and not be force fed how to feelfor their experience and not be force fed how to feelGame events: introduction, rising action, denouement Game events: introduction, rising action, denouement and conclusion. and conclusion. Thematic elements of the story not connected to its Thematic elements of the story not connected to its characters can be used as dramatic meaningfulness,characters can be used as dramatic meaningfulness,

Example: Dramatic MeaningfulnessExample: Dramatic Meaningfulness

InteractivityInteractivity

Definition: a story that the player interacts with Definition: a story that the player interacts with by contributing actions to it, and despite the by contributing actions to it, and despite the playerplayer’’s action inability to alter the plot direction, s action inability to alter the plot direction, the story can still be interactivethe story can still be interactive

active agents active agents -- player has an interactive role in player has an interactive role in the story development and progress of the game the story development and progress of the game itselfitself

passive agents passive agents –– includes a reader or a viewer includes a reader or a viewer of film or TVof film or TV

Player EventsPlayer Events

actions separate from the actions separate from the gameplay, and have an affect on gameplay, and have an affect on the storythe storyExamples of this include the Examples of this include the playable character interacting with playable character interacting with NPCs to get information not known NPCs to get information not known by the traditional storytelling by the traditional storytelling methodsmethodsactively getting information that actively getting information that wouldnwouldn’’t be mandatorily provided t be mandatorily provided to them to advance the plot. to them to advance the plot.

InIn--Game EventsGame Events

events that are part of the game, and not directly events that are part of the game, and not directly available for the player to alter available for the player to alter player action can trigger an event that would happen player action can trigger an event that would happen always due to its builtalways due to its built--in existence in the game in existence in the game mechanics mechanics

Examples: walking guards in Metal Gear Solid, or the Examples: walking guards in Metal Gear Solid, or the player moves an item that triggers the trap door to fallplayer moves an item that triggers the trap door to fall

Example Example –– InIn--Game EventGame Event

Narrative EventsNarrative Events

This will be explained in the Narrative This will be explained in the Narrative sectionsection

defined as events that the player has no defined as events that the player has no control overcontrol over

the player will witness them; this goes the player will witness them; this goes handhand--inin--hand with game progression and hand with game progression and overcoming certain obstacles.overcoming certain obstacles.

Story vs. NarrativeStory vs. Narrative

narrative cannot be considered interactive due narrative cannot be considered interactive due to its passive nature and the fact that it is linearto its passive nature and the fact that it is linearagency = ability to change the plot direction and agency = ability to change the plot direction and its eventsits eventsvideo games provide an added dimension of video games provide an added dimension of interactivity as their contribution to the story interactivity as their contribution to the story progression creates that experienceprogression creates that experienceallow the player to approach an obstacle in allow the player to approach an obstacle in many different ways many different ways events in between them that enable the player to events in between them that enable the player to move from the start to the end is nonmove from the start to the end is non--linear; they linear; they get to choose how they get to their destination.get to choose how they get to their destination.

Story vs. NarrativeStory vs. Narrative

Important: events in an interactive game Important: events in an interactive game story should not depart from its thematic story should not depart from its thematic naturenature

violates the principles of a good story violates the principles of a good story (coherency, credibility, dramatic (coherency, credibility, dramatic meaningfulness)meaningfulness)

NarrativeNarrative

To reiterate:To reiterate:Definition: text or the discourse produced by the Definition: text or the discourse produced by the act of narration (retelling of a story by an act of narration (retelling of a story by an overseer, or external agent)overseer, or external agent)it is nonit is non--interactive and the player has no interactive and the player has no influence in the events to comeinfluence in the events to come

Narrative Narrative -- RoleRole

Role: players have no control of the narrative; it is Role: players have no control of the narrative; it is prepre--determined and cannot be preventeddetermined and cannot be prevented

must go through the journey of the narrative must go through the journey of the narrative developmentdevelopment

prepre--determinism still stands, and its purpose is to determinism still stands, and its purpose is to contextualize the environment that player will participate contextualize the environment that player will participate inin

Narrative Narrative –– Common UsageCommon Usage

Narrative blocks are used to present Narrative blocks are used to present narrative to the game player narrative to the game player

different methods are used to convey different methods are used to convey information to the player (depends on information to the player (depends on genre)genre)

The three types of narrative blocks are as The three types of narrative blocks are as follows:follows:

Narrative Narrative –– Opening SequenceOpening Sequence

1) Opening Sequence:1) Opening Sequence:introduction to the story of the game and introduction to the story of the game and sets the stage for the player entering the sets the stage for the player entering the foreign environmentforeign environment

information provided in this brief (and information provided in this brief (and sometimes not too brief) sequence will sometimes not too brief) sequence will need to be enough to persuade the gamer need to be enough to persuade the gamer to continue to play the gameto continue to play the game

““It was a bright cold day in April, and the It was a bright cold day in April, and the clocks were striking thirteen.clocks were striking thirteen.””

Example Example –– Opening SequenceOpening Sequence

Narrative Narrative –– Interlevel SequenceInterlevel Sequence

2) Interlevel Sequence:2) Interlevel Sequence:used as a setup for the following challenge or used as a setup for the following challenge or level; it only provides enough information to give level; it only provides enough information to give some background for the events to followsome background for the events to followVariation: cutVariation: cut--scene, where its purpose is to scene, where its purpose is to develop the narrative and show possible develop the narrative and show possible character developmentcharacter developmentlength of the sequences vary on genre; fastlength of the sequences vary on genre; fast--paced games have shorter sequences of up to 5 paced games have shorter sequences of up to 5 minutes, while slowerminutes, while slower--paced games like RPGs paced games like RPGs will spend more time on these sequences.will spend more time on these sequences.

"Wake up and smell the ashes.""Wake up and smell the ashes."

Example Example –– Interlevel SequenceInterlevel Sequence

Narrative Narrative –– Ending SequenceEnding Sequence

3) Ending Sequence:3) Ending Sequence:wraps up any storylines after the game has wraps up any storylines after the game has ““finishedfinished””

possibly introduces potential storylines in the possibly introduces potential storylines in the form of cliffhangers, or openform of cliffhangers, or open--ended conclusionsended conclusions

can make or break a game, much like a third actcan make or break a game, much like a third act

however, more of the same is a bigger trend, however, more of the same is a bigger trend, and customers unfortunately have shown and customers unfortunately have shown interest in sequelsinterest in sequels

"I was cured all right.""I was cured all right."

Example Example –– Ending SequenceEnding Sequence

Narrative Narrative –– FormsForms

prepre--rendered movies, cutrendered movies, cut--scenes using the graphics scenes using the graphics engines (interactive but not manipulative), textengines (interactive but not manipulative), text--based based and voiceoverand voiceovernot considered narratives: consequencenot considered narratives: consequence--based actions, based actions, like talking to a nonlike talking to a non--playable character (single line of playable character (single line of dialogue)dialogue)however a long monologue given by an NPC is however a long monologue given by an NPC is considered a narrativeconsidered a narrative

Narrative Narrative -- BalanceBalance

too much narrative and too little gameplay can alienate too much narrative and too little gameplay can alienate gamers as they are nongamers as they are non--active for the better part of the active for the better part of the gamegametoo much gameplay and too little narrative will disrupt a too much gameplay and too little narrative will disrupt a flow and may come off as lazy or uninspiring flow and may come off as lazy or uninspiring lack of a narrative perspective results in an emotionless, lack of a narrative perspective results in an emotionless, nonnon--purposeful game purposeful game key part to gaming is interaction; to make the player feel key part to gaming is interaction; to make the player feel like they are actively affecting the outcome of the gamelike they are actively affecting the outcome of the gameillusion is necessary for any possibility of enjoyment; if illusion is necessary for any possibility of enjoyment; if the balance of narrative and gameplay is not found, the the balance of narrative and gameplay is not found, the illusion will be broken illusion will be broken

Narrative Narrative -- BalanceBalance

if the balance, or editing, does not feel right, it can detrimenif the balance, or editing, does not feel right, it can detriment the video t the video gamegame’’s success s success

each game genre will have its own acceptance of what balance is each game genre will have its own acceptance of what balance is required, required, so using the film methods as a guideline will help game designerso using the film methods as a guideline will help game designers s immenselyimmensely

Design Rule: Do Not Seize Control of the Avatar.Design Rule: Do Not Seize Control of the Avatar.

““We cannot choose the times in which we live. All we can We cannot choose the times in which we live. All we can decide is what to do with the time that is given us.decide is what to do with the time that is given us.””

Dramatic Tension vs. Gameplay Dramatic Tension vs. Gameplay TensionTension

Dramatic Tension:Dramatic Tension:byby--product of proper product of proper usage of literary usage of literary techniques such as clifftechniques such as cliff--hangers, plot twists, hangers, plot twists, conflict and rising actionconflict and rising actionimportant for any type of important for any type of narrative to have dramatic narrative to have dramatic tension, as it leads to tension, as it leads to desire and anticipation of desire and anticipation of any future (or past) any future (or past) revelations revelations Games that use these Games that use these techniques with excellent techniques with excellent results are: GTA: Vice results are: GTA: Vice City, AssassinCity, Assassin’’s Creeds Creed

Dramatic Tension vs. Gameplay Dramatic Tension vs. Gameplay TensionTension

Gameplay Tension:Gameplay Tension: playing of the game leads to playing of the game leads to gameplay tensiongameplay tensiongamer is stressed due to ingamer is stressed due to in--game challenges and game challenges and obstaclesobstaclestension is heightened in certain parts of a game, tension is heightened in certain parts of a game, including boss battles, timed challenges, puzzleincluding boss battles, timed challenges, puzzle--solvingsolving

Dramatic Tension vs. Gameplay Dramatic Tension vs. Gameplay TensionTension

programmers allow programmers allow gamers to experience this gamers to experience this by increasing the difficulty by increasing the difficulty of the game, or of the game, or incorporating near incorporating near impossible difficulty levels impossible difficulty levels in the gamein the game

games that use this games that use this technique to create the technique to create the most stress include: Devil most stress include: Devil May Cry 3, Metal Gear May Cry 3, Metal Gear Solid 2 : Sons of Liberty, Solid 2 : Sons of Liberty, Demon SoulsDemon Souls

Example Example -- TensionTension

The False AnalogyThe False Analogy

two tensions should not be considered to be related two tensions should not be considered to be related Important concepts: randomness and repetition Important concepts: randomness and repetition dramatic tension cannot abide by these two termsdramatic tension cannot abide by these two termsrepetitiveness of storylines within an overarching repetitiveness of storylines within an overarching narrative of a game bogs it down narrative of a game bogs it down Exceptions: variations on randomness and repetition, to Exceptions: variations on randomness and repetition, to remove the sense of sameness or lack of originality remove the sense of sameness or lack of originality Gameplay tension, however, can rely on these two termsGameplay tension, however, can rely on these two termscan lead to heavy tension in gameplay, which can be can lead to heavy tension in gameplay, which can be both good and badboth good and bad

Storytelling EngineStorytelling Engine

module of the game that organizes the narration and execution ofmodule of the game that organizes the narration and execution ofthe story eventsthe story events

keeps track of player progress during the story to trigger the keeps track of player progress during the story to trigger the appropriate event responseappropriate event response

only reacts to triggers in the core mechanicsonly reacts to triggers in the core mechanics

weaving the story elements togetherweaving the story elements together

storytelling engine handles narrative events and the core mechanstorytelling engine handles narrative events and the core mechanics ics deals with player and indeals with player and in--game eventsgame events

Storytelling EngineStorytelling Engine

communication and updates about the game status are sent back communication and updates about the game status are sent back and forthand forthAn example of this relationship: player has finished a level andAn example of this relationship: player has finished a level and the the core mechanics sends that update to the storytelling engine to core mechanics sends that update to the storytelling engine to continue the story from that checkpointcontinue the story from that checkpointOnce the story has progressed via narrative cutOnce the story has progressed via narrative cut--scenes, it returns a scenes, it returns a message to the core mechanics to continue the gameplay message to the core mechanics to continue the gameplay Game designers have to plan where these checkpoints or trigger Game designers have to plan where these checkpoints or trigger points are located within a gamepoints are located within a game’’s timelines timeline

Linear vs. Nonlinear StoriesLinear vs. Nonlinear Stories

a) Lineara) Linearrefers to the inability of the player to alter the story and itsrefers to the inability of the player to alter the story and its events events (pre(pre--determinism)determinism)

does not exclude the possibility of interactivity, as gaming prodoes not exclude the possibility of interactivity, as gaming provides vides the inthe in--between actions that can be a subset of an infinite amount of between actions that can be a subset of an infinite amount of actions to get from checkpoint to checkpointactions to get from checkpoint to checkpoint

Linear StoriesLinear Stories

Pros:Pros:Linear stories require less content than non linear ones Linear stories require less content than non linear ones due to predue to pre--determinismdeterminismStorytelling engine is simpler due to less managementStorytelling engine is simpler due to less managementLess prone to bugs and absurdities, and is relatable to Less prone to bugs and absurdities, and is relatable to film continuity errorsfilm continuity errorsGreater emotions due to controlling nature of the storyGreater emotions due to controlling nature of the story

Cons:Cons:No player agency, which can argue that it is less realistic No player agency, which can argue that it is less realistic than its nonthan its non--linear counterpartslinear counterpartsCan limit the story length and its complexityCan limit the story length and its complexity

Linear vs. Nonlinear StoriesLinear vs. Nonlinear Stories

Nonlinear: refers to the ability of the player to Nonlinear: refers to the ability of the player to alter the story and its events (freedom of choice)alter the story and its events (freedom of choice)

multiple story paths are available, depending on multiple story paths are available, depending on their choices during their time in the gametheir choices during their time in the gametwo major types: branching and foldback storiestwo major types: branching and foldback stories

Branching StoriesBranching Stories

Possibility of multiple storylines and Possibility of multiple storylines and experiences depending on player actionsexperiences depending on player actions

Storytelling engine keeps track of the Storytelling engine keeps track of the decisions players make and works with the decisions players make and works with the core mechanicscore mechanics

Branch point Branch point –– ““fork in the roadfork in the road””

Two influences: overcoming challenges or Two influences: overcoming challenges or story making the player choose their fatestory making the player choose their fate

Branching Stories Branching Stories -- InfluencesInfluences

Immediate:Immediate: branching occurs right away (easiest to branching occurs right away (easiest to implement)implement)Deferred:Deferred: branching occurs a while after the player branching occurs a while after the player action has been made (e.g. the dog in Resident Evil 4)action has been made (e.g. the dog in Resident Evil 4)Cumulative:Cumulative: multiple actions have an effect on the multiple actions have an effect on the upcoming branching of the storyupcoming branching of the story

Important: consequences of choices must be made clear Important: consequences of choices must be made clear by the game designer (eg. RPGs and character choices) by the game designer (eg. RPGs and character choices) and must be rationaland must be rationalBuildup of choices can lead to story influences as well as Buildup of choices can lead to story influences as well as change character interactionschange character interactions

Branching Stories Branching Stories -- StructureStructure

Tree with nodes representing potential story events and branch Tree with nodes representing potential story events and branch points, multiple sub trees due to branchingpoints, multiple sub trees due to branchingCan only go forward in progress, and repetition in story is not Can only go forward in progress, and repetition in story is not recommendedrecommendedBranching is not exclusive; some sub trees may intersectBranching is not exclusive; some sub trees may intersectOne or more start points, and definitely more than one endingOne or more start points, and definitely more than one endingHeavy use of agency provided by the designerHeavy use of agency provided by the designer

Branching Stories Branching Stories -- DisadvantagesDisadvantages

Expensive to implement:Expensive to implement: branches and branch branches and branch points need their own narrative and gameplay, points need their own narrative and gameplay, can lead to combinatorial explosion can lead to combinatorial explosion Tree Uniqueness:Tree Uniqueness: branching introduces branching introduces restrictions on future events; merging or restrictions on future events; merging or intersection cannot occur if the branch point will intersection cannot occur if the branch point will introduce continuity errorsintroduce continuity errorsGame repetition:Game repetition: the player will have to play the player will have to play through the game again if they want to see the through the game again if they want to see the alternate storylinesalternate storylines

Example Example –– Branching StoryBranching Story

Foldback StoriesFoldback Stories

Compromise between linear Compromise between linear and branching and branching --> limited > limited agencyagencyVariety of inevitable events Variety of inevitable events within a narrative, combined within a narrative, combined with branching nonlinear with branching nonlinear eventseventsIllusion of agency provided to Illusion of agency provided to player; overall narrative player; overall narrative remains remains ““linearlinear””

Foldback StoriesFoldback Stories

Ensures writer can establish emotion and Ensures writer can establish emotion and character development without too many character development without too many tangentstangentsMost used method of storytelling in Most used method of storytelling in modern games, due to the illusion of modern games, due to the illusion of complexitycomplexityCritical turning points (cliffhangers, plot Critical turning points (cliffhangers, plot twists) should be designed as twists) should be designed as inevitabilitiesinevitabilities

Story EndingsStory Endings

mark an important conclusion to the storymark an important conclusion to the story

can be the most emotional moment in the can be the most emotional moment in the story, but writers may choose to adopt story, but writers may choose to adopt different closure styles that should different closure styles that should complement the genre being playedcomplement the genre being played

level of satisfaction and accomplishment level of satisfaction and accomplishment obtained when successfully beating a obtained when successfully beating a gamegame

Story EndingsStory Endings

Single Ending StoriesSingle Ending Storiesusually used in Linear storytellingusually used in Linear storytellingpower given to the writer to tell the power given to the writer to tell the story their way, and choose the best story their way, and choose the best narrative they can come up with to narrative they can come up with to tell the gametell the game’’s storys storydownside is that players might get downside is that players might get bored of seeing the same routine over bored of seeing the same routine over and over again, so for this approach there and over again, so for this approach there must be a franchise/fan club backbone the must be a franchise/fan club backbone the story can fall back to for support (story can fall back to for support (Mario, Mario, Zelda, and Metroid)Zelda, and Metroid)to avoid disappointment, game developers will avoid emphasizing to avoid disappointment, game developers will avoid emphasizing choice making, if they plan on making a single ending choice making, if they plan on making a single ending

Story EndingsStory EndingsMultiple EndingsMultiple Endingsused when developing with nonlinearity storiesused when developing with nonlinearity storiesplayer encounters many choices that will affect the final outcomplayer encounters many choices that will affect the final outcomeerewarding feeling of accomplishment when the character you watchrewarding feeling of accomplishment when the character you watched grow ed grow really has an effect on the story and is not just playing along really has an effect on the story and is not just playing along with a scriptwith a script

Examples: Knights of the Old Republic, Bioshock, Ch rono Trigger Examples: Knights of the Old Republic, Bioshock, Ch rono Trigger Heavy Rain has been reported to have 18 different endings Heavy Rain has been reported to have 18 different endings Dramatic Dramatic freedom is required for multiple endingsfreedom is required for multiple endings

Challenges & ChoicesChallenges & Choices

In general, players expect to be rewarded for In general, players expect to be rewarded for their accomplishment & task completion while their accomplishment & task completion while playing a game.playing a game.

MetroidMetroid gave an alternate ending if the game gave an alternate ending if the game was beaten within a specific time period. was beaten within a specific time period. Awarded player with knowledge of Awarded player with knowledge of SamusSamus’’gender. She appears without her suit for the first gender. She appears without her suit for the first time, revealing herself a woman.time, revealing herself a woman.

Example Example -- ChallengesChallenges

GranularityGranularityThe ratio between gameplay & storytelling whether it be The ratio between gameplay & storytelling whether it be in form of narrations or cut scenes.in form of narrations or cut scenes.

It is crucial to design of storyIt is crucial to design of story

Coarse granularity defines games with lower gameplay Coarse granularity defines games with lower gameplay time and higher narration time. Diagram below resemble time and higher narration time. Diagram below resemble the rough transitions given in coarse granularity. the rough transitions given in coarse granularity.

The game Black displays coarse granularityThe game Black displays coarse granularity

Fine granularity defines games with harmony between Fine granularity defines games with harmony between gameplay & narration, and is often what designer should gameplay & narration, and is often what designer should aim to accomplish.aim to accomplish.

Example Example -- GranularityGranularity

Mechanisms for Advancing the Mechanisms for Advancing the PlotPlot

Plot Advancement vary by game genre, mostly in action Plot Advancement vary by game genre, mostly in action games like God Of War, story is triggered by reaching a games like God Of War, story is triggered by reaching a certain point in the level (Incertain point in the level (In--game events), meanwhile in game events), meanwhile in World of World of WarcraftWarcraft, story may only advance once the , story may only advance once the player chooses to enter a certain area or interact with a player chooses to enter a certain area or interact with a specific game character (player events)specific game character (player events)

There are three mechanisms: There are three mechanisms:

Story of Challenges and ChoicesStory of Challenges and Choices

Story as a JourneyStory as a Journey

Story as DramaStory as Drama

Story as a Series of Challenges:Story as a Series of Challenges:Not affected by time, story and time advances are proportional tNot affected by time, story and time advances are proportional to the o the completion of mission or challenges presented. Example: most lincompletion of mission or challenges presented. Example: most linear ear games, Star Fox and Fast and Furious.games, Star Fox and Fast and Furious.

Avoid using too many challenged trigger cut scenes, this might gAvoid using too many challenged trigger cut scenes, this might give the ive the game even more coarse granularity, and make it jerky and too game even more coarse granularity, and make it jerky and too procedural.procedural.

Story as Journey:Story as Journey:Revolves around avatar based games, like Final Fantasy and ElderRevolves around avatar based games, like Final Fantasy and ElderScrolls.Scrolls.

Free to explore the world, moving the avatar fromFree to explore the world, moving the avatar from

place to place, player trigger events are used place to place, player trigger events are used

with more frequency.with more frequency.

Provides Novelty: keep player interested with newProvides Novelty: keep player interested with new

enemies, weapons, vehicles.enemies, weapons, vehicles.

Pace Control: player can Pace Control: player can adnvaceadnvace at their ownat their own

pace, whether they want to stay and train,pace, whether they want to stay and train,

or go face the next boss.or go face the next boss.

Story as DramaStory as Drama

games where the plot moves forward with or without the player, agames where the plot moves forward with or without the player, and sends nd sends triggers to the core mechanics to indicate when it's time to givtriggers to the core mechanics to indicate when it's time to give gameplaye gameplayused in most realused in most real--time games, and multiplayer gamestime games, and multiplayer gamesExample: Example: FaFaççadeade puts the player in the role of a friend of Grace and Trip, puts the player in the role of a friend of Grace and Trip, who are the main characters in the storywho are the main characters in the storyduring a preduring a pre--party scenario, you aim to be a guest, but if the player does party scenario, you aim to be a guest, but if the player does nothing, the game will progress and Grace and Trip will react tonothing, the game will progress and Grace and Trip will react to the players the players silence. silence. Another example of the Story Drama mechanism in use is in the gaAnother example of the Story Drama mechanism in use is in the game Night me Night Trap (given in text book)Trap (given in text book)

Emotional Limits Emotional Limits ––Interactive GamesInteractive Games

difference between games with story and games difference between games with story and games without storywithout storygameplay centered games don't need a story gameplay centered games don't need a story and rely on fun to be appealingand rely on fun to be appealingcomplex games require depth and purpose, complex games require depth and purpose, involving emotions and attachment for successinvolving emotions and attachment for successdesigner chooses to end the game based on designer chooses to end the game based on how they interacted with the players emotions how they interacted with the players emotions and can also restrict a nonlinear game to a and can also restrict a nonlinear game to a closed ending,closed ending,similar to how a movie may display a quote at similar to how a movie may display a quote at the end to really drive the point homethe end to really drive the point home

Emotional Limits Emotional Limits ––Interactive GamesInteractive Games

Example: Example: To achieve emotional connection with the player, the To achieve emotional connection with the player, the designer may give a background to the character, have growth or designer may give a background to the character, have growth or levelling up, character nurturing or give the character a purposlevelling up, character nurturing or give the character a purpose e

a nona non--linear story means accepting that the player's decisions, even linear story means accepting that the player's decisions, even though they may not be always ideal for ordinary storytellingthough they may not be always ideal for ordinary storytellingcannot guarantee that the player will experience the most emotiocannot guarantee that the player will experience the most emotional nal connection to the storyconnection to the storydesigners and writers in general have to settle on knowing that designers and writers in general have to settle on knowing that you you can't always satisfy everyonecan't always satisfy everyone

Emotional Limits Emotional Limits ––AvatarAvatar--Based GamesBased Games

games like Elder Scrolls, Dungeon Dragon and most MMOs like Worlgames like Elder Scrolls, Dungeon Dragon and most MMOs like World of d of Warcraft usually have a story written in the first person, sinceWarcraft usually have a story written in the first person, since it follows the story it follows the story of the main characterof the main charactercan change who narrates the story to be creative, examples inclucan change who narrates the story to be creative, examples include God of War de God of War where Athena does some of the narrating, gives subtle suggestionwhere Athena does some of the narrating, gives subtle suggestions that s that KratosKratosis not narrating due to the chance he may not be in the whole gais not narrating due to the chance he may not be in the whole gamemedependency limits how drastic the story can be; in most occasiondependency limits how drastic the story can be; in most occasions the main s the main character will not die prematurely, since this might negatively character will not die prematurely, since this might negatively affect the story affect the story itselfitselffirst person games will not severely punish the player and quickfirst person games will not severely punish the player and quick rere--spawn or spawn or large life gauge usually gives a feel of immortality, large life gauge usually gives a feel of immortality, Examples: Examples: MegamanMegaman, Metal Slug, Sonic, Donkey Kong, Metal Slug, Sonic, Donkey Kong

Emotional Limits Emotional Limits ––AvatarAvatar--Based GamesBased Games

must attempt to make the death of the character more significantmust attempt to make the death of the character more significantthan a quick revival at a save pointthan a quick revival at a save pointExample: Demon's Souls Example: Demon's Souls is particularly challenging, since each is particularly challenging, since each time the player dies, the enemies will become harder and you wiltime the player dies, the enemies will become harder and you will l also lose all your soulalso lose all your soulallows player to become better by analyzing enemies instead of allows player to become better by analyzing enemies instead of blindly trying to defeat by trial and error, leading to empathyblindly trying to defeat by trial and error, leading to empathyA first person story may have a dark ending but the narrating A first person story may have a dark ending but the narrating character cannot die prematurelycharacter cannot die prematurelydesigner may decide to introduce a sidekick or someone close todesigner may decide to introduce a sidekick or someone close tothe main character and really develop his background and story othe main character and really develop his background and story only nly to kill him at the end for emotional reactionsto kill him at the end for emotional reactionsExamples: Examples: PlanetfallPlanetfall , Final Fantasy VII, Final Fantasy VII regarding regarding AerisAeris' death' death

TIP: nonTIP: non--interactive rules on story writing do not directly apply to interactive rules on story writing do not directly apply to interactive story writing, and requires new rules and principlesinteractive story writing, and requires new rules and principles

Scripted Conversations and Scripted Conversations and Dialogue TreesDialogue Trees

Natural LanguageNatural Language –– ordinary language spoken or written by ordinary language spoken or written by humanshumanspotential problems include the artificial intelligence may find potential problems include the artificial intelligence may find it it difficult to understand and react appropriately to a natural landifficult to understand and react appropriately to a natural language guage conversationconversationGoal: have a player engage in a conversation with an NPC that isGoal: have a player engage in a conversation with an NPC that isnot scripted, meaning it is not activated through either the planot scripted, meaning it is not activated through either the player yer choosing to speak to the NPC or vice versachoosing to speak to the NPC or vice versaplayers pick a sentence or word out of a list of options and theplayers pick a sentence or word out of a list of options and the NPC NPC responds accordingly, but really just a tree of optionsresponds accordingly, but really just a tree of options

Scripted Conversations and Scripted Conversations and Dialogue TreesDialogue Trees

process continues until the conversation process continues until the conversation reaches the end of the tree and no options reaches the end of the tree and no options are available or the player chooses to end are available or the player chooses to end conversation prematurelyconversation prematurelysome games incorporate dialogue to provide some games incorporate dialogue to provide a player with information they may have a player with information they may have missed or extra information on certain missed or extra information on certain characters or locations characters or locations usually end with a variation of the sentences usually end with a variation of the sentences "I don't have anything else to tell you" or "I don't have anything else to tell you" or "Come see me when you need help"."Come see me when you need help".