storytelling 2 storytelling n in the early days of video games, storytelling was usually only done...

StorytellingStorytelling

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In the early days of video games, In the early days of video games, storytelling was usually only done in storytelling was usually only done in the context of adventure games.the context of adventure games.

Modern video games of all genres Modern video games of all genres can have some story elements.can have some story elements. It might be a key part of the game, or it It might be a key part of the game, or it

might just be to provide a setting and might just be to provide a setting and motivation for the game.motivation for the game.

Either way, it is important to Either way, it is important to understand understand how good stories are told.how good stories are told.

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There are three key parts to any story:There are three key parts to any story: Plot, setting, and characters.Plot, setting, and characters.

Plot: More about how the story unfolds Plot: More about how the story unfolds rather than what the story is about.rather than what the story is about.

Setting: The world that is being explored Setting: The world that is being explored in the story, including its history, in the story, including its history, geography, mood, atmosphere, and so geography, mood, atmosphere, and so on.on.

Characters: The entities that are Characters: The entities that are experiencing and taking part in the story.experiencing and taking part in the story.

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Traditional StructuresTraditional Structures

There are many traditional structures There are many traditional structures or formulas to telling stories.or formulas to telling stories.

Two of the more commonly Two of the more commonly referenced structures in gaming referenced structures in gaming literature are:literature are: The Three Act StructureThe Three Act Structure The Monomyth (aka Hero’s Journey)The Monomyth (aka Hero’s Journey)

We will look at both of these in more We will look at both of these in more detail here.detail here.

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Traditional Structures:Traditional Structures:The Three Act The Three Act StructureStructure Commonly touted by Hollywood Commonly touted by Hollywood

screenwriters and parts of the game screenwriters and parts of the game development literature.development literature.

The premise here is that the basic The premise here is that the basic structure of a story is really quite structure of a story is really quite simple.simple. A story must have a beginning,A story must have a beginning,

a middle, and an end. a middle, and an end. Each must be done properly for Each must be done properly for

the story to be effective.the story to be effective.

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Traditional Structures:Traditional Structures:The Three Act The Three Act StructureStructure

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The Three Act The Three Act Structure:Structure:The BeginningThe Beginning The most interesting stories begin by The most interesting stories begin by

placing the player into the action or placing the player into the action or drama of the story.drama of the story.

Backstory and background events are Backstory and background events are introduced later as they are needed. introduced later as they are needed.

The goal is to capture the player’s The goal is to capture the player’s attention and draw them into the story as attention and draw them into the story as quickly as possible.quickly as possible.

The beginning phase of the story also The beginning phase of the story also introduces the player’s problem, and introduces the player’s problem, and should do so as quickly as possible.should do so as quickly as possible.

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The Three Act The Three Act Structure:Structure:The BeginningThe Beginning

Screen shot from the Legend of Zelda: The Ocarina of Time. It has a classicintroduction that involves the player right from the start.

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The Three Act The Three Act Structure:Structure:The BeginningThe Beginning There is some division over the timing of the There is some division over the timing of the

beginning of a story, however.beginning of a story, however. One philosophy is that a game should start One philosophy is that a game should start

with the problem introduced immediately or with the problem introduced immediately or already in motion at its beginning.already in motion at its beginning. Any required backstory or other background Any required backstory or other background

information can be required as needed later on.information can be required as needed later on. The other is that players need some time and The other is that players need some time and

backstory before the problem is introduced.backstory before the problem is introduced. This ensures that the player has a chance to This ensures that the player has a chance to

become acquainted with and bond with their become acquainted with and bond with their character.character.

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The Three Act The Three Act Structure:Structure:The MiddleThe Middle The middle of the story presents a The middle of the story presents a

series of obstacles that stand in the way series of obstacles that stand in the way of the player’s character to overcome of the player’s character to overcome the problem introduced in the first act.the problem introduced in the first act. The player must overcome these obstacles The player must overcome these obstacles

to bring the game to a successful to bring the game to a successful conclusion.conclusion.

If additional backstory and background If additional backstory and background information still needs to be told, now is information still needs to be told, now is a good time to do so as well.a good time to do so as well.

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The Three Act The Three Act Structure:Structure:The MiddleThe Middle

Act 1 Act 3Act 2

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The Three Act The Three Act Structure:Structure:The MiddleThe Middle It is important to provide additional obstacles It is important to provide additional obstacles

to the player throughout the middle of the to the player throughout the middle of the story.story. Each time one is overcome, a new and harder one Each time one is overcome, a new and harder one

must be faced to reach the long-term goal of the must be faced to reach the long-term goal of the story.story.

The best obstacles also require the hero of the The best obstacles also require the hero of the game, and the player in turn, to deal with some game, and the player in turn, to deal with some kind of inner conflicts and challenges. To kind of inner conflicts and challenges. To overcome these, growth of some form is required.overcome these, growth of some form is required.

While gameplay can challenge a player mentally While gameplay can challenge a player mentally and physically, story-driven conflict can challenge and physically, story-driven conflict can challenge the player on emotional and psychological levels.the player on emotional and psychological levels.

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The Three Act The Three Act Structure:Structure:The MiddleThe Middle

Screen shot from Shadow of the Colossus. This game provides perhaps thebest inner conflict ever faced in a video game. Incredibly well done.

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The Three Act The Three Act Structure:Structure:The MiddleThe Middle In traditional storytelling, these In traditional storytelling, these

obstacles are laid out in a linear obstacles are laid out in a linear fashion.fashion.

In a game, this need not be the case.In a game, this need not be the case. There is time for unrelated storylines, side There is time for unrelated storylines, side

adventures, twists and turns, and so on.adventures, twists and turns, and so on. There tends to also exist multiple paths There tends to also exist multiple paths

through the game to reach the end.through the game to reach the end. These elements can provide a measure of These elements can provide a measure of

non-linearity, giving the player freedom non-linearity, giving the player freedom and control over their experience.and control over their experience.

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The Three Act The Three Act Structure:Structure:The EndThe End The story ends when the player’s The story ends when the player’s

character overcomes the problem character overcomes the problem introduced in the first act.introduced in the first act. In doing so, the player achieves the In doing so, the player achieves the

long-term objective of the game.long-term objective of the game. The last part of a game should bring The last part of a game should bring

together the themes and issues together the themes and issues introduced throughout the game.introduced throughout the game.

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The Three Act The Three Act Structure:Structure:The EndThe End In the last part of the game, the In the last part of the game, the

player must overcome the ultimate player must overcome the ultimate villain, the source of the obstacles villain, the source of the obstacles throughout the game.throughout the game. In the end, there must be something or In the end, there must be something or

someone that does not want the player someone that does not want the player to succeed.to succeed.

To face off with this ultimate villain at To face off with this ultimate villain at the end of the story, and emerge the end of the story, and emerge victorious is very satisfying.victorious is very satisfying.

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The Three Act The Three Act Structure:Structure:The EndThe End

Screen shot from Mario 64. This is one of the final scenes witha show down against the main villain.

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The Three Act The Three Act Structure:Structure:The EndThe End Just as non-linearity in a game can Just as non-linearity in a game can

provide multiple paths through the provide multiple paths through the middle act, it can also provide middle act, it can also provide multiple endings to a game.multiple endings to a game. Each ending should make sense to the Each ending should make sense to the

player in light of their actions throughout player in light of their actions throughout the game.the game.

These endings can embody varying These endings can embody varying degrees of success and failure, degrees of success and failure, depending on what the player did in depending on what the player did in playing the game.playing the game.

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The Three Act The Three Act Structure:Structure:The EndThe End

Screen shot from Maniac Mansion. Among other things, this adventuregame with a sense of humour was known for having multiple endings

depending on what the player did in the game. Very interesting for its time.

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The Three Act The Three Act Structure:Structure:SummarySummary The three act structure provides a The three act structure provides a

fairly simple and easy to follow fairly simple and easy to follow template for the story of a game.template for the story of a game.

Remember this old writer’s maxim:Remember this old writer’s maxim: In the first act, you get your hero up a In the first act, you get your hero up a

tree.tree. In the second act, you throw rocks atIn the second act, you throw rocks at

your hero.your hero. In the third act, you get the hero back In the third act, you get the hero back

down.down.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth In “The Hero With a Thousand Faces”, Joseph In “The Hero With a Thousand Faces”, Joseph

Campbell introduced the concept of a Campbell introduced the concept of a monomyth—a story pattern that legends and monomyth—a story pattern that legends and myths from all cultures share.myths from all cultures share. Campbell referred to this monomyth as the Campbell referred to this monomyth as the

“hero’s journey”.“hero’s journey”. It has been applied to screenwriting by It has been applied to screenwriting by

Christopher Vogler in “The Writer’s Journey” and Christopher Vogler in “The Writer’s Journey” and can be seen in films such as Star Wars.can be seen in films such as Star Wars.

This monomyth pattern can be easily applied This monomyth pattern can be easily applied to the stories told by games as well.to the stories told by games as well.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Exposition:Exposition:

This section introduces the main character This section introduces the main character in his or her ordinary surroundings before in his or her ordinary surroundings before the adventure begins.the adventure begins.

Call:Call: The main character gets a call to The main character gets a call to

adventure and must leave their ordinary adventure and must leave their ordinary world to go on a quest or journey. This world to go on a quest or journey. This leads them to another world that leads them to another world that intersects with their own, but is somewhat intersects with their own, but is somewhat foreign and unknown.foreign and unknown.

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Screen shot from Oni. This game starts with the heroine on a fairly routinecall, which quickly turns into something more sinister with a group

known as the Syndicate. She starts to learn there might be more to her pastthan she realizes …

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Refusal:Refusal:

The hero initially rejects the call, not The hero initially rejects the call, not wanting to leave the comfort and safety wanting to leave the comfort and safety of their ordinary world. Typically, this of their ordinary world. Typically, this comes with hesitation and doubt, comes with hesitation and doubt, leaving the potential for future conflict.leaving the potential for future conflict.

Information:Information: While the hero has outwardly rejected While the hero has outwardly rejected

the call, this decision is still questioned. the call, this decision is still questioned. A mentor figure provides the hero with A mentor figure provides the hero with advice and information relevant to the advice and information relevant to the refused call.refused call.

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Screen shot from Oni. Konoko rejects where things appear to be goingwith her developing powers, and tries to continue with her life.

Only after a meeting with her friend and mentor Kerr does she fullyaccept things and press forward on her adventure.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Departure:Departure:

From the knowledge gained in the From the knowledge gained in the information stage, the hero makes a information stage, the hero makes a final decision. final decision.

Usually this is a change of mind and a Usually this is a change of mind and a decision to embark on the journey and decision to embark on the journey and leave the ordinary world behind.leave the ordinary world behind.

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Screen shot from Oni. Konoko is now a full on renegade on therun from her former friends an comrades as she tries to piece together

her past, dole out some justice, and take down the Syndicatein her own way.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Testing:Testing:

During the journey, the hero faces a series During the journey, the hero faces a series of challenges, making up the main action of of challenges, making up the main action of the story.the story.

The hero must solve problems, face fears, The hero must solve problems, face fears, rescue others, defeat foes, and so on.rescue others, defeat foes, and so on.

Typically, this involves growth of some kind.Typically, this involves growth of some kind. Reward:Reward:

After completing the challenges, the hero is After completing the challenges, the hero is rewarded. This could mark the end of the rewarded. This could mark the end of the story, but not always.story, but not always.

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Screen shot from Oni. Konoko fights her way through her ownforces, and eventually on to the Syndicate’s main headquarters,

where she has to fight numerous battles and overcome manyadversaries to reach their doomsday weapon.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Ordeal:Ordeal:

Just when the hero appears to be in Just when the hero appears to be in safety with the journey nearly over, the safety with the journey nearly over, the hero must face another ordeal.hero must face another ordeal.

This is the big conflict, and a difficult This is the big conflict, and a difficult one. Unlike the other conflicts, it is not one. Unlike the other conflicts, it is not clear whether the hero will ultimately clear whether the hero will ultimately succeed or fail.succeed or fail.

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Screen shot from Oni. Konoko faces a final ordeal to overcome. Afinal battle with Muro, her equally powerful brother, who is the head

of the Syndicate.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Resurrection:Resurrection:

Just when it seemed like it is over and the Just when it seemed like it is over and the hero overcame the final ordeal, the hero overcame the final ordeal, the enemy resurfaces.enemy resurfaces.

It could be the same enemy, the enemy in It could be the same enemy, the enemy in

a different form, or someone or something a different form, or someone or something else revealed to be the true enemy.else revealed to be the true enemy.

This is also the place where a trick This is also the place where a trick ending can be introduced and something ending can be introduced and something unexpected happens.unexpected happens.

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Screen shot from Oni. Having defeated Muro, Konoko thought it wasfinally over. But, the bitterness and evil in her brother causes his power

to mutate him into a final ultimate form which she must defeatto reach a bittersweet ending.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Return:Return:

This marks the end of the story, and the This marks the end of the story, and the hero returns to the ordinary world that hero returns to the ordinary world that was left behind at the beginning of the was left behind at the beginning of the journey.journey.

The structure is circular, with the hero The structure is circular, with the hero returning back to the beginning, likely a returning back to the beginning, likely a changed person.changed person.

This circular structure leaves room for This circular structure leaves room for open-endedness, and a repeat of part or open-endedness, and a repeat of part or all of the monomyth structure.all of the monomyth structure.

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Screen shot from Oni. Despite defeating Muro and putting an endto the Syndicate, their weapon still goes off. Humanity is not

destroyed but changed forever … but Konoko is still aliveto deal with that in future adventures.

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Traditional Structures:Traditional Structures:The MonomythThe Monomyth Keep in mind that it is possible to vary Keep in mind that it is possible to vary

and tune the monomyth structure to and tune the monomyth structure to provide interesting story possibilities.provide interesting story possibilities.

Some games focus on some elements Some games focus on some elements of this pattern more than others.of this pattern more than others. For example, the resurrection element is For example, the resurrection element is

common in a wide variety of games, common in a wide variety of games, particularly in boss battles.particularly in boss battles.

In some cases, certain elements are In some cases, certain elements are omitted or down played, like the omitted or down played, like the refusal.refusal.

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Traditional Structures:Traditional Structures:A Final WordA Final Word While it is important to have these While it is important to have these

traditional structures to provide traditional structures to provide templates for stories, there are some templates for stories, there are some caveats to consider.caveats to consider. Rigidly following these structures could Rigidly following these structures could

result in a tired, overused story. Some result in a tired, overused story. Some variations and twists might be in order.variations and twists might be in order.

These structures might not lend These structures might not lend themselves to multiplayer stories in themselves to multiplayer stories in which there are several main characters which there are several main characters and not one.and not one.

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PlotPlot

As mentioned earlier, plot is more As mentioned earlier, plot is more about how the story unfolds rather about how the story unfolds rather than what the story is about.than what the story is about. It is more than mere facts and events, but It is more than mere facts and events, but

also how these elements are connected, also how these elements are connected, related, and flow into one another.related, and flow into one another.

No matter how a story is structured, No matter how a story is structured, each structural element contains plot each structural element contains plot elements that guide the story along.elements that guide the story along.

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PlotPlot

Gameplay and plot are inherently Gameplay and plot are inherently interconnected within games that interconnected within games that heavily depend upon story elements.heavily depend upon story elements. Obstacles and challenges presented to Obstacles and challenges presented to

the player are made interesting to the the player are made interesting to the player by linking them to the plot of the player by linking them to the plot of the story.story.

The story is advanced through the The story is advanced through the completion of challenges, removal of completion of challenges, removal of obstacles, and by dealing with other obstacles, and by dealing with other gameplay elements in the game.gameplay elements in the game.

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Plot:Plot:Balancing ConflictBalancing Conflict Dramatic tension in a story is Dramatic tension in a story is

greatest when the player teeters on greatest when the player teeters on the brink of disaster only to escape the brink of disaster only to escape by the narrowest of margins.by the narrowest of margins. This often entails a careful balancing act This often entails a careful balancing act

in designing the story and gameplay, in designing the story and gameplay, but can produce a very rewarding effect.but can produce a very rewarding effect.

This requires careful consideration in This requires careful consideration in multiplayer games where there must multiplayer games where there must be a good balance between players be a good balance between players as well.as well.

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Plot:Plot:Balancing ConflictBalancing Conflict

Screen shot from Halo 2. The player is constantly teetering nearannihilation, which provides a good level of dramatic tension in the game.

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Plot:Plot:Shifting FocusShifting Focus At many points in the story of a game, it At many points in the story of a game, it

might be important to shift the focus of might be important to shift the focus of the player.the player. To give the player some freedom and choice To give the player some freedom and choice

to deviate from the main storyline.to deviate from the main storyline. To bring the player back to the main storyline To bring the player back to the main storyline

after such explorations.after such explorations. This can be done by adjusting the set of This can be done by adjusting the set of

quests, missions, or tasks available to the quests, missions, or tasks available to the player, introducing new characters or player, introducing new characters or objects, and so on.objects, and so on. The idea is to encourage the shift the focus of The idea is to encourage the shift the focus of

the player’s attention as necessary.the player’s attention as necessary.

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Plot:Plot:Shifting FocusShifting Focus

Screen shot from Destroy all Humans. By adding new objectives, openingnew areas, and introducing new powers or weapons, this game can shift

the focus of the player back towards the main storyline of the game.

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Plot:Plot:Foreshadowing EventsForeshadowing Events

Foreshadowing is a standard plot device Foreshadowing is a standard plot device that provides a hint to some event or that provides a hint to some event or change that will happen in the future.change that will happen in the future.

Foreshadowing can serve many Foreshadowing can serve many purposes:purposes: To set the tone or mood in the game.To set the tone or mood in the game. To provide a warning or lesson to the player To provide a warning or lesson to the player

about how to handle gameplay in the future.about how to handle gameplay in the future. To build anticipation of what is to come.To build anticipation of what is to come. To help let the player feel smart.To help let the player feel smart.

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Plot:Plot:Foreshadowing EventsForeshadowing Events

Screen shot from Prince of Persia: The Sands of Time. This game providedplenty of foreshadowing. The visions experienced by the prince gives vital

clues as to how to proceed through certain areas of the game world.

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Plot:Plot:Suspension of Suspension of DisbeliefDisbelief Suspension of disbelief involves the Suspension of disbelief involves the

player’s acceptance of the artificial player’s acceptance of the artificial reality that is created within the game.reality that is created within the game. The player accepts the rules and The player accepts the rules and

experiences of the game even if they do experiences of the game even if they do not make sense in the real world.not make sense in the real world.

If you are immersed in the story of the If you are immersed in the story of the game, you will disregard the real world game, you will disregard the real world while you are playing it and adopt the while you are playing it and adopt the artificial world as yours while you are artificial world as yours while you are playing in it.playing in it.

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Plot:Plot:Suspension of Suspension of DisbeliefDisbelief

Screen shot of Shadow of the Colossus. This game perfectly allows for thesuspension of disbelief, allowing the player to accept this world as their own.

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Plot:Plot:Realism and Realism and ConsistencyConsistency Realism can be used in games to Realism can be used in games to

mimic the real world as closely as mimic the real world as closely as possible.possible.

In other games, fantasy might play a In other games, fantasy might play a stronger role, and realism less so.stronger role, and realism less so.

Either way, consistency is a must, Either way, consistency is a must, with nothing seeming out of place to with nothing seeming out of place to jar the player from the experience.jar the player from the experience. Whether realistic or fantastic, the story Whether realistic or fantastic, the story

must make sense and be believable frommust make sense and be believable froma consistency standpoint. a consistency standpoint.

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Plot:Plot:Realism and Realism and ConsistencyConsistency

Screen shot from Call of Duty 2. This game attempts to create anauthentic and realistic war experience which forms an integral part

of the game.

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Plot:Plot:InteractivityInteractivity Because of interactivity with the player, Because of interactivity with the player,

the storyteller of a game does not have the storyteller of a game does not have sole control over the flow of the story.sole control over the flow of the story.

In effect, the player can be a co-In effect, the player can be a co-storyteller, or even the only storyteller, storyteller, or even the only storyteller, depending on the game.depending on the game. While this can create interesting issues, a While this can create interesting issues, a

game that allows the player to take on a game that allows the player to take on a key story formation role can be very key story formation role can be very rewarding.rewarding.

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Plot:Plot:NonlinearityNonlinearity Linear stories follow a straight Linear stories follow a straight

physical and temporal progression.physical and temporal progression. Games do not have to follow a linear Games do not have to follow a linear

storyline; their interactivity can give storyline; their interactivity can give the freedom of choice to the player to the freedom of choice to the player to set their own path through the game.set their own path through the game. This is a tight balancing act: the This is a tight balancing act: the

nonlinear freedom given to a player, and nonlinear freedom given to a player, and the linearity needed to have a well-the linearity needed to have a well-constructed story.constructed story.

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Plot:Plot:NonlinearityNonlinearity Again, the best way to balance this Again, the best way to balance this

is through a series of linearly is through a series of linearly connected open areas.connected open areas. Give the player freedom to meet Give the player freedom to meet

challenges as they see fit, which can challenges as they see fit, which can result to a variety of game experiences.result to a variety of game experiences.

These experiences are strung together These experiences are strung together in a linear fashion so that the in a linear fashion so that the storyteller still retains a good measure storyteller still retains a good measure of control over the story.of control over the story.

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Plot:Plot:NonlinearityNonlinearity

Screen shot from Halo. The player traverses several open areasstrung together in a linear fashion. Very well done.

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Plot:Plot:The Fourth WallThe Fourth Wall

The “fourth wall” is a theatrical The “fourth wall” is a theatrical reference to the fact that traditional reference to the fact that traditional theatre sets have three walls, the back theatre sets have three walls, the back and the sides.and the sides. The audience views the play through the The audience views the play through the

invisible fourth wall while actors perform as invisible fourth wall while actors perform as if it is as solid as the other three.if it is as solid as the other three.

Breaking the fourth wall removes the Breaking the fourth wall removes the illusion that the characters in the story illusion that the characters in the story are unaware that they are being are unaware that they are being observed. observed.

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Plot:Plot:The Fourth WallThe Fourth Wall

In general, you should never break In general, you should never break the fourth wall unless you really know the fourth wall unless you really know what you are doing.what you are doing. Doing it improperly can break the Doing it improperly can break the

immersion of the game as it is immersion of the game as it is tantamount to the characters tantamount to the characters acknowledging they are in a game and acknowledging they are in a game and not in some kind of alternate reality.not in some kind of alternate reality.

In some cases, it can serve a purpose In some cases, it can serve a purpose to make some form of commentary, to make some form of commentary, but you must be careful with this.but you must be careful with this.

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Plot: Crisis, Plot: Crisis, Climax, and ResolutionClimax, and Resolution Crisis, climax, resolution is a classic Crisis, climax, resolution is a classic

approach used in storytelling.approach used in storytelling. Crisis is the point at which a challenge is Crisis is the point at which a challenge is

introduced and tension begins to build.introduced and tension begins to build. Climax is not the overcoming of the Climax is not the overcoming of the

challenge, but is rather where the crisis is challenge, but is rather where the crisis is stretched to its limits: the moment of stretched to its limits: the moment of confrontation, accusation, conflict, confrontation, accusation, conflict, violence.violence.

Resolution is simply the outcome of the Resolution is simply the outcome of the climax that is the result of the crisis.climax that is the result of the crisis.

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Plot: Crisis, Plot: Crisis, Climax, and ResolutionClimax, and Resolution Typically, the stakes are raised through Typically, the stakes are raised through

each crisis-climax-resolution construct.each crisis-climax-resolution construct. This results in this kind of stairway:This results in this kind of stairway:

There can also be variable amounts of time There can also be variable amounts of time in the steps, and overlapping of multiple in the steps, and overlapping of multiple crises.crises.

Crisis B

Crisis A

Climax A

Climax B

Resolution A

Resolution B

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Crisis B

Crisis A

Climax A

Climax B

Resolution A

Resolution B

Plot: Crisis, Plot: Crisis, Climax, and ResolutionClimax, and Resolution Minor story arcs are composed of a Minor story arcs are composed of a

single crisis, climax, resolution single crisis, climax, resolution sequence.sequence.

Major story arcs can encompass Major story arcs can encompass multiple minor story arcs.multiple minor story arcs.Major Story

Arc Minor StoryArcs

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SettingSetting

Setting is something usually done well in Setting is something usually done well in most modern video games.most modern video games. Graphics and sound technologies have advanced Graphics and sound technologies have advanced

to the point where good settings can be easily to the point where good settings can be easily created.created.

Setting, however, is not just a physical Setting, however, is not just a physical location.location. It is the whole world created to tell your story.It is the whole world created to tell your story. It includes time period, weather, and other It includes time period, weather, and other

elements such as mood and atmosphere.elements such as mood and atmosphere. All of these elements combine together to create All of these elements combine together to create

the world in which the game and its story is set.the world in which the game and its story is set.

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SettingSetting

Creating a good setting for a game requires Creating a good setting for a game requires careful thought and consideration.careful thought and consideration. In creating the game world, you should invent In creating the game world, you should invent

only one “what if?” and everything else should only one “what if?” and everything else should flow from this.flow from this.

After this, everything should be as real as After this, everything should be as real as possible without any contradictions.possible without any contradictions.

Choose a setting that will engage the Choose a setting that will engage the senses senses as much as possible.as much as possible. By keeping the setting vivid and consistent, you By keeping the setting vivid and consistent, you

will more easily be able to immerse the player.will more easily be able to immerse the player.

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SettingSetting

Screen shot from Unreal Tournament 2003. Visuals like thesereally help establish the setting of the game.

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CharactersCharacters

Characters can be the most Characters can be the most fascinating and most integral part of fascinating and most integral part of a story.a story. More often than not, characters can More often than not, characters can

makemakeor break a game.or break a game.

Consequently, it is very important to Consequently, it is very important to make sure that characters are well make sure that characters are well thought out and well developed thought out and well developed throughout the story of the game.throughout the story of the game.

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Player and Non Player Player and Non Player CharactersCharacters Characters are either controlled by Characters are either controlled by

the player or by the game itself.the player or by the game itself. Player Characters (PCs) are Player Characters (PCs) are

characters controlled by the player.characters controlled by the player. If there is a single central character, it is If there is a single central character, it is

commonly referred to as the player’s commonly referred to as the player’s avatar.avatar.

It is also possible for there to be multiple It is also possible for there to be multiple characters controlled by the player, characters controlled by the player, however, depending on the game.however, depending on the game.

6565

Player and Non Player Player and Non Player CharactersCharacters There are two basic philosophies to There are two basic philosophies to

creating a player character:creating a player character: Avoid creating a strong central Avoid creating a strong central

character; only provide a bare outline, character; only provide a bare outline, and allow the player to fill in the rest and allow the player to fill in the rest with themselves.with themselves.

Create a character with a well defined Create a character with a well defined personality, attitude, and background.personality, attitude, and background.

Success can be had either way.Success can be had either way.

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Player and Non Player Player and Non Player CharactersCharacters

Duke NukemDoom’s generic space marine

6767

Player and Non Player Player and Non Player CharactersCharacters Non Player Characters (NPCs) are Non Player Characters (NPCs) are

characters that are not controlled by characters that are not controlled by the player.the player. Instead, these characters tend to be driven Instead, these characters tend to be driven

by an artificial intelligence of some kind by an artificial intelligence of some kind within the game. (More on this later …)within the game. (More on this later …)

Non player characters take on a variety Non player characters take on a variety of roles to deliver various elements of of roles to deliver various elements of gameplay within the game.gameplay within the game. This includes combat, puzzle solving, etc.This includes combat, puzzle solving, etc.

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Player and Non Player Player and Non Player CharactersCharacters In addition to gameplay, non player In addition to gameplay, non player

characters fill other important roles in characters fill other important roles in many video games.many video games. They can reveal emotions and reactions that They can reveal emotions and reactions that

the hero cannot show.the hero cannot show. They help establish mood and tone in very They help establish mood and tone in very

effective ways that are difficult to do otherwise.effective ways that are difficult to do otherwise. For example:For example:

Your hero should face down the ultimate villain Your hero should face down the ultimate villain without any fear.without any fear.

By having non player characters cowering in By having non player characters cowering in the background at the same time, this emotion the background at the same time, this emotion can still be instilled in the game player.can still be instilled in the game player.

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Screen shot from Golden Axe. The villagers scream and fleeat the villains’ assault. One is being attacked to the right

behind the dragon.

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Screen shot from The Thing. Computer controlled team matesexperience and display fear … earning and keep their trust

is an important aspect of the game.

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Character TypesCharacter Types

There are five common character There are five common character types that tend to be used in games.types that tend to be used in games.

AnimalAnimal These are characters derived from These are characters derived from

animals of some kind, and are often animals of some kind, and are often given human characteristics to allow given human characteristics to allow for more identification between the for more identification between the player and the character.player and the character.

Common in games marketed towards Common in games marketed towards families or children, but not always.families or children, but not always.

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Sonic the Hedgehog is a classic animal based video game character.

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Screen shot from Conker: Live and Reloaded. The animal characters here are definitely not for family consumption!

7474


FantasyFantasy Characters that do not have counterparts Characters that do not have counterparts

in the real world and are created in the real world and are created specifically for a game, without licensing specifically for a game, without licensing from a pre-existing source.from a pre-existing source.

HistoricalHistorical Characters that have distinct Characters that have distinct

counterparts from the real world, often counterparts from the real world, often from past history. Political and military from past history. Political and military games focusing on real-world events games focusing on real-world events often contain these.often contain these.

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Mario, Lara Croft, and Gordon Freeman areall examples of fantasy characters.

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Screen shot from Rome: Total War. Games such as this one featurea great number of historical characters.

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LicensedLicensed A licensed character also exists in the A licensed character also exists in the

real world but in a pre-existing medium. real world but in a pre-existing medium. When licensing characters, developers When licensing characters, developers do not need to start from scratch in do not need to start from scratch in creating visuals, personalities, or verbal creating visuals, personalities, or verbal nuances.nuances.

MythicMythic These characters have counterparts in These characters have counterparts in

mythologies, legends, and fairy tales mythologies, legends, and fairy tales from different cultures.from different cultures.

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Screen shot from From Russia With Love. Characters like James Bondneed to be licensed to appear in video games.

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Screen shot from God of War. This game featured many mythologicalcharacters, including this minotaur. Don’ worry, I’m sure it’s just fine …

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Character RolesCharacter Roles

There are many possible roles that There are many possible roles that characters can take in games.characters can take in games.

While it is not good to pigeon-hole While it is not good to pigeon-hole characters into certain models of characters into certain models of behaviour, knowing some of the behaviour, knowing some of the classic character types can be of classic character types can be of great use ingreat use incrafting a story for the first time.crafting a story for the first time.

We will discuss some of the more We will discuss some of the more common character roles here …common character roles here …

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Character Roles:Character Roles:HeroHero The hero character role is more often The hero character role is more often

than not filled by the player.than not filled by the player. The role of this character is to The role of this character is to

overcome the main problem faced in overcome the main problem faced in the story often at his or her own peril, the story often at his or her own peril, requiring personal sacrifice along the requiring personal sacrifice along the way.way.

In most stories, the hero performs In most stories, the hero performs most of the action and assumes the most of the action and assumes the majority of risk and responsibility.majority of risk and responsibility.

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Character Roles:Character Roles:HeroHero

Screen shot of the Legend of Zelda: Ocarina of Time. Link is definitely the hero in this story.

8383

Character Roles:Character Roles:ShadowShadow The shadow represents the opposite of The shadow represents the opposite of

the hero, often the ultimate evil the hero, often the ultimate evil character in a story.character in a story. Typically it is the shadow that is Typically it is the shadow that is

responsible for the character’s problem, responsible for the character’s problem, but not always.but not always.

Sometimes the true shadow remains Sometimes the true shadow remains hidden until the story’s climax, which hidden until the story’s climax, which can help build the story’s tension.can help build the story’s tension. Along the way, the player may have to deal Along the way, the player may have to deal

with lesser shadows as well.with lesser shadows as well.

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Character Roles:Character Roles:ShadowShadow

Screen shot of the Legend of Zelda: Ocarina of Time. Ganondorfis the shadow to counter Link’s hero.

8585

Character Roles:Character Roles:MentorMentor The mentor is a character who often The mentor is a character who often

guides the hero towards some action.guides the hero towards some action. The mentor is often an older “advisor” The mentor is often an older “advisor”

character that can impart wisdom and character that can impart wisdom and lessons learned from experience.lessons learned from experience.

Mentors are typically on the hero’s Mentors are typically on the hero’s side, but sometimes they might side, but sometimes they might intentionally guide the hero in the intentionally guide the hero in the wrong direction.wrong direction.

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Character Roles:Character Roles:MentorMentor

Screen shot from Mortal Kombat: Shaolin Monks. In this action-adventuregame in the Mortal Kombat universe, Raiden served as the mentor figure

to Liu Kang and Kung Lao.

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Character Roles:Character Roles:AlliesAllies Allies are characters that help the Allies are characters that help the

hero progress on their adventure and hero progress on their adventure and assist the hero with tasks that might assist the hero with tasks that might be difficult or impossible to be difficult or impossible to accomplish alone.accomplish alone.

Allies can take many forms:Allies can take many forms: Sidekicks, servants and pets, trainers, Sidekicks, servants and pets, trainers,

merchants, and so on.merchants, and so on. The form the allies take depends greatlyThe form the allies take depends greatly

on the game.on the game.

8888

Character Roles:Character Roles:AlliesAllies

Screen shot from Jak and Daxter. Daxter is a sidekick for Jak,not to mention comic relief …

8989

Character Roles:Character Roles:AlliesAllies

Screen shot from Resident Evil 4. While the Merchant character is notexactly on your side, his special kind of “help” can be quite valuable!

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Character Roles:Character Roles:GuardiansGuardians A guardian typically blocks the A guardian typically blocks the

progress of the hero by whatever progress of the hero by whatever means necessary until the hero has means necessary until the hero has proven worthy.proven worthy.

Guardians, simply put, test the player.Guardians, simply put, test the player. Sometimes guardians are henchmen Sometimes guardians are henchmen

of the shadow, but not always.of the shadow, but not always. In some cases, a guardian can be a block In some cases, a guardian can be a block

in the hero’s mind (such as doubt, fear, in the hero’s mind (such as doubt, fear, and so on) that make the hero hesitate.and so on) that make the hero hesitate.

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Character Roles:Character Roles:GuardiansGuardians

Screen shot from Quake II. The Tank character in this screenis a guardian character used to block the player. In this case, it isattempting to prevent access to the computer terminal behind it.

9292

Character Roles:Character Roles:TricksterTrickster The trickster is a neutral character The trickster is a neutral character

that tries to create mischief.that tries to create mischief. Trickster characters can either cause Trickster characters can either cause

damage or inconvenience through damage or inconvenience through their actions, or they can simply be their actions, or they can simply be jesters who provide comic relief for jesters who provide comic relief for the story.the story.

Tricksters can sometimes be the Tricksters can sometimes be the hero’s sidekicks or even a shadow hero’s sidekicks or even a shadow character, depending on the game.character, depending on the game.

9393

Character Roles:Character Roles:TricksterTrickster

Screen shot from Golden Axe. The thief character steals from youwhen you sleep … a definite inconvenience from this trickster.

9494

Character Roles:Character Roles:HeraldHerald The herald character facilitates The herald character facilitates

change change in the story and provides the hero in the story and provides the hero with direction.with direction.

The herald could be the character The herald could be the character that first introduced a problem to that first introduced a problem to the player, or could provide quests, the player, or could provide quests, missions, or other objectives during missions, or other objectives during the game.the game.

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Character Roles:Character Roles:HeraldHerald

Screen shot from Splinter Cell. Lambert provides Sam Fisher withmission briefings and provides direction throughout the game.

9696

Character RolesCharacter Roles

In addition to these character roles, In addition to these character roles, there are also classic character there are also classic character types that can be associated with types that can be associated with any story.any story.

These are:These are: ProtagonistsProtagonists AntagonistsAntagonists Co-protagonistCo-protagonist Supporting charactersSupporting characters

9797

Character Roles:Character Roles:ProtagonistsProtagonists The protagonist is the main The protagonist is the main

character character of the game.of the game. In a single player game, the game’s In a single player game, the game’s

story centers around this character.story centers around this character. The protagonist drives the story The protagonist drives the story

forward.forward. Acts instead of just reacts.Acts instead of just reacts. Makes things happen instead of waiting Makes things happen instead of waiting

for things to happen.for things to happen.

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Character Roles:Character Roles:ProtagonistsProtagonists The protagonist is not always good, and is The protagonist is not always good, and is

therefore not always a hero.therefore not always a hero. In some cases, the protagonist could be In some cases, the protagonist could be

some kind of anti-hero.some kind of anti-hero. In the context of the story, the character In the context of the story, the character

appears as a hero, but out of context could be appears as a hero, but out of context could be seen as a criminal, an outlaw, or simply seen as a criminal, an outlaw, or simply unlikable.unlikable.

Classic types of anti-heroes include the Classic types of anti-heroes include the vigilante, the developing hero, the drifter, the vigilante, the developing hero, the drifter, the failure, the flawed everyman, the villain (in failure, the flawed everyman, the villain (in rare cases), and the noble criminal.rare cases), and the noble criminal.

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Character Roles:Character Roles:ProtagonistsProtagonists

Screen shot from Batman Begins. Batman is a classic vigilante character.

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Character Roles:Character Roles:ProtagonistsProtagonists

Screen shot from God of War. Kratos is the protagonist, but his heroic qualities are somewhat questionable.

101101

Character Roles:Character Roles:AntagonistsAntagonists The antagonist opposes the protagonist.The antagonist opposes the protagonist. Just like the protagonist need not be good, Just like the protagonist need not be good,

the antagonist need not be evil.the antagonist need not be evil. There are many types of antagonists, such There are many types of antagonists, such

as:as: Exaggerated: Larger than life, bizarre at times, Exaggerated: Larger than life, bizarre at times,

and dominate the story; sometimes more and dominate the story; sometimes more interesting than the protagonist.interesting than the protagonist.

Realistic: Mild mannered and fairly normal Realistic: Mild mannered and fairly normal characters (which can have interesting effects).characters (which can have interesting effects).

Mistaken: It appears they are villains but turn Mistaken: It appears they are villains but turn out to be innocent.out to be innocent.

102102

Character Roles:Character Roles:AntagonistsAntagonists

Screen shot from Grand Theft Auto: Liberty City Stories. The police arejust doing their job, but considering the role of the protagonist in this

story, they turn out to be the antagonists.

103103

Character Roles:Character Roles:Co-ProtagonistsCo-Protagonists Co-protagonists join forces with the Co-protagonists join forces with the

protagonist in the story.protagonist in the story. Could be other player or non player Could be other player or non player

characters, depending on the game.characters, depending on the game. Sometimes these characters start as Sometimes these characters start as

antagonists, that unite with the protagonist antagonists, that unite with the protagonist against a greater, common foe.against a greater, common foe.

Sometimes these characters will cooperate Sometimes these characters will cooperate with the protagonist, and sometimes they with the protagonist, and sometimes they will compete instead (but not oppose will compete instead (but not oppose them).them).

104104

Character Roles:Character Roles:Co-ProtagonistsCo-Protagonists

Mario and Luigi have been co-protagonists in many games over the years.

105105

Character Roles:Character Roles:Supporting CharactersSupporting Characters The role of supporting characters is in The role of supporting characters is in

essence to ensure the protagonist does essence to ensure the protagonist does not walk away from the problem faced not walk away from the problem faced in the story.in the story. That would put a premature and That would put a premature and

unwelcome end to the story!unwelcome end to the story! Supporting characters can lend support Supporting characters can lend support

to either the protagonist or antagonist to either the protagonist or antagonist in the story.in the story.

106106

Character Roles:Character Roles:Supporting CharactersSupporting Characters

Screen shot from Trauma Center Under the Knife. This innovative title for the Nintendo DS has a variety of nursing and medical personnel

as support characters … although this one yelling isn’t being helpful!

107107

Character Character DevelopmentDevelopment Creating a memorable character is Creating a memorable character is

hard, but the rewards can be great.hard, but the rewards can be great. Both artistically and commercially. Both artistically and commercially.

Try to create a character that can be Try to create a character that can be easily identified with by the player.easily identified with by the player. Try to find problems that we all have as Try to find problems that we all have as

individuals and allow the player to individuals and allow the player to fantasize that they can actually be fantasize that they can actually be solved through the hero created.solved through the hero created.

108108

Character Character DevelopmentDevelopment Character growth in video games is often Character growth in video games is often

difficult to accomplish.difficult to accomplish. We can have characters “grow” by improving We can have characters “grow” by improving

their vital statistics, by making them stronger, their vital statistics, by making them stronger, and by granting them new abilities.and by granting them new abilities.

This is not the same kind of “growth” found in This is not the same kind of “growth” found in traditional storytelling.traditional storytelling.

The difficulty comes from the fact that the The difficulty comes from the fact that the character is controlled by the player.character is controlled by the player. Ultimately, the growth that actually occurs is Ultimately, the growth that actually occurs is

at least in part determined by the experiences at least in part determined by the experiences had by the player in playing the game.had by the player in playing the game.

109109

Character Character DevelopmentDevelopment Just because achieving character Just because achieving character

growth is hard does not mean that growth is hard does not mean that character development is not an character development is not an important part of the story of a important part of the story of a game.game.

There are many ways to think about There are many ways to think about this and accomplish this within a this and accomplish this within a game.game. We will touch on a few of the common We will touch on a few of the common

approaches here.approaches here.

110110

Character Character Development:Development:Character ArcsCharacter Arcs The process of character The process of character

development is called the character development is called the character arc.arc.

Based on the events in the story, the Based on the events in the story, the character will develop accordingly.character will develop accordingly.

Like a story arc, a character arc will Like a story arc, a character arc will span over crisis, climax, and span over crisis, climax, and resolution plot elements, but not resolution plot elements, but not necessarily in the samenecessarily in the sameform.form.

111111

Crisis B

Crisis A

Climax A

Climax B

Resolution A

Resolution B

Character Development:Character Development:Character ArcsCharacter Arcs

Major CharacterArc

Minor CharacterArc

112112

Character Character Development:Development:Character ArcsCharacter Arcs One can also look at character arcs One can also look at character arcs

in terms of the level of development in terms of the level of development that occurs within the character.that occurs within the character.

113113

Character Character Development:Development:Character ArcsCharacter Arcs

Intrapersonal: Only concerned with own Intrapersonal: Only concerned with own needs and thoughts.needs and thoughts.

Interpersonal: Bonds with another character Interpersonal: Bonds with another character in a one-on-one basis.in a one-on-one basis.

Team: Bonds with and belongs to a small Team: Bonds with and belongs to a small group of characters with common goals and group of characters with common goals and interests.interests.

Community: The smaller team becomes part Community: The smaller team becomes part of a larger organized network.of a larger organized network.

Humanity: Concerned with the well being of Humanity: Concerned with the well being of everyone and everything.everyone and everything.

114114

Character Character Development:Development:Character ArcsCharacter Arcs Typically, characters start at the Typically, characters start at the

lower levels and work their way up lower levels and work their way up throughout the game as their throughout the game as their perspective broadens.perspective broadens.

Sometimes, characters start higher Sometimes, characters start higher and move to lower levels.and move to lower levels. In the case of protagonists who are In the case of protagonists who are

anti-heroes, this kind of development anti-heroes, this kind of development could be part of their fall from grace.could be part of their fall from grace.

115115

Character Character Development:Development:Character TrianglesCharacter Triangles A character triangle is a powerful three A character triangle is a powerful three

way relationship between contrasting way relationship between contrasting characters in a story.characters in a story. Usually the protagonist, antagonist and a Usually the protagonist, antagonist and a

supporting character.supporting character. A story can contain multiple triangles, A story can contain multiple triangles,

each representing its own sub-plot.each representing its own sub-plot. Characters can take part in several Characters can take part in several

triangles at once. For example, the triangles at once. For example, the protagonist can be in two triangles where protagonist can be in two triangles where they are competing with two different they are competing with two different antagonists.antagonists.

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Character Character Development:Development:Character TrianglesCharacter Triangles The most The most

common triangle common triangle is the love is the love triangle.triangle.

There are many There are many others, however. others, however. For example, a For example, a career triangle career triangle focusing on the focusing on the competition for competition for the same job.the same job.

117117

Character Character Development:Development:Visual DevelopmentVisual Development

Have the visuals tied to the character’s Have the visuals tied to the character’s persona and role in the story.persona and role in the story.

This includes:This includes: Size, build, body type, and stature.Size, build, body type, and stature. Physical appearance and characteristics.Physical appearance and characteristics. Costume, including clothing, props, and so Costume, including clothing, props, and so

on.on. Animation and motion style.Animation and motion style. Idle behaviours and characteristics.Idle behaviours and characteristics. And so on.And so on.

118118

Character Character Development:Development:Verbal DevelopmentVerbal Development

Through their monologues and Through their monologues and dialogues, characters will have a chance dialogues, characters will have a chance to both expose their inner state and to both expose their inner state and have an opportunity to develop.have an opportunity to develop. Be sure to take advantage of these Be sure to take advantage of these

opportunities when they are presented! opportunities when they are presented! If you find that characters involved in verbal If you find that characters involved in verbal

discourse do not develop as a result, then discourse do not develop as a result, then this discourse might not really have been this discourse might not really have been necessary.necessary.

119119

Storytelling Storytelling TechniquesTechniques In a video game, there are really In a video game, there are really

two ways that storytelling can take two ways that storytelling can take place.place. Through the actions of the characters.Through the actions of the characters. Through verbal commentary.Through verbal commentary.

If something is to be part of the If something is to be part of the story, it must show up in one of story, it must show up in one of those two forms.those two forms.

120120

Storytelling Storytelling Techniques:Techniques:Cut ScenesCut Scenes Cut scenes are essentially out-of-game Cut scenes are essentially out-of-game

miniature movies.miniature movies. If you do not deliver professional-quality work, If you do not deliver professional-quality work,

the game will suffer for it.the game will suffer for it. Each cut scene should have specific Each cut scene should have specific

goals.goals. Develop characters.Develop characters. Introduce a new environment.Introduce a new environment. Advance the plot.Advance the plot. Establish mission goals.Establish mission goals.

For best results, it is a good idea to For best results, it is a good idea to collaborate with professionals to do this.collaborate with professionals to do this.

121121

Storytelling Storytelling Techniques:Techniques:Cut ScenesCut Scenes

Screen shots from the original Wing Commander (left) and Wing Commander IV (right). Both are from cut scenes. The original game

used cut scenes between game sequences, while the fourth entry in the seriesused them as a main storytelling element.

122122

Storytelling Storytelling Techniques:Techniques:Cut ScenesCut Scenes Game technologies have advanced to the Game technologies have advanced to the

point where the same assets can be used for point where the same assets can be used for both cut scenes and the game itself.both cut scenes and the game itself. This allows for a higher level of immersion because This allows for a higher level of immersion because

there is a consistent presentation and no change there is a consistent presentation and no change in artistic style to present cut scenes.in artistic style to present cut scenes.

The player still loses control during cut scenes The player still loses control during cut scenes though, which can still have a jarring effect.though, which can still have a jarring effect. If the story can be told within the game with the If the story can be told within the game with the

player still in control, that could be better than player still in control, that could be better than using cut scenes. In that case, however, the using cut scenes. In that case, however, the author loses control and the story might not unfold author loses control and the story might not unfold as desired.as desired.

123123

Storytelling Storytelling Techniques:Techniques:Scripted EventsScripted Events Scripted events are brief sequences Scripted events are brief sequences

within levels that are usually within levels that are usually triggered by some player activity.triggered by some player activity. They can be pieces of dialogue or small They can be pieces of dialogue or small

bits of action.bits of action. They can provide back story, build They can provide back story, build

character, or direct the player towards character, or direct the player towards new goals.new goals.

Be careful, however, that your Be careful, however, that your scripted events do not break the scripted events do not break the player’s immersion!player’s immersion!

124124

Storytelling Storytelling Techniques:Techniques:Scripted EventsScripted Events

Screen shot from Oni. This is of a scripted event where theheroine Konoko triggers a guard to come through a previously locked door in another part of the level. Removing the guard,

passage would then be free.

125125

Storytelling Storytelling Techniques:Techniques:Verbal CommentaryVerbal Commentary Verbal commentary serves many Verbal commentary serves many

purposes within a game:purposes within a game: Revealing characterRevealing character Revealing emotionRevealing emotion Conveying backstoryConveying backstory Advancing the plotAdvancing the plot Revealing conflictRevealing conflict Establishing relationshipsEstablishing relationships Commenting on actionCommenting on action

This can take many forms ...This can take many forms ...

126126

Storytelling Storytelling Techniques:Techniques:Verbal CommentaryVerbal Commentary

Narration: Commentary made by a non Narration: Commentary made by a non player character or special narrator character player character or special narrator character whose role is to provide backstory or whose role is to provide backstory or unbiased comments on events transpiring.unbiased comments on events transpiring.

Monologue: Commentary given by one of the Monologue: Commentary given by one of the characters in a game for the purpose of characters in a game for the purpose of illustrating the character’s mental, illustrating the character’s mental, emotional, or psychological state, or to emotional, or psychological state, or to reveal their inner thoughts.reveal their inner thoughts.

Dialogue: Verbal interaction between two or Dialogue: Verbal interaction between two or more characters in the game. Can serve any more characters in the game. Can serve any of the purposes discussed on the previous of the purposes discussed on the previous slide.slide.

127127

Storytelling Storytelling Techniques:Techniques:Verbal CommentaryVerbal Commentary Good verbal commentary sounds Good verbal commentary sounds

nothing like regular speech.nothing like regular speech. We stumble, pause, and repeat We stumble, pause, and repeat

ourselves. Verbal commentary must be ourselves. Verbal commentary must be crisp, to the point, and without a word crisp, to the point, and without a word wasted.wasted.

When it comes time to crafting When it comes time to crafting verbal commentary, it is likely best verbal commentary, it is likely best to bring in professional writers to to bring in professional writers to make sure the job is done properly.make sure the job is done properly.

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A few tips on verbal commentary:A few tips on verbal commentary: The characters are part of the story and should The characters are part of the story and should

therefore not talk about the story itself. (Otherwise therefore not talk about the story itself. (Otherwise they break the fourth wall, as discussed earlier.)they break the fourth wall, as discussed earlier.)

Never have a character say something in dialogue Never have a character say something in dialogue that the player already knows.that the player already knows.

Keep dialogue realistic, and consistent with the Keep dialogue realistic, and consistent with the mood, setting, and characters in the dialogue.mood, setting, and characters in the dialogue.

There should be a purpose behind the There should be a purpose behind the commentary; without a point, it can be annoying commentary; without a point, it can be annoying and frustrating.and frustrating.

When writing dialogue, less is more. Keep it short.When writing dialogue, less is more. Keep it short.

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Screen shot of the Legend of Zelda: Ocarina of Time. Dialogue is a criticalpoint in advancing the story, even if it is done in text form.

130130


Screen shot from Phantom Crash. The gameplay itself is quite good, but theseemingly endless and pointless dialogue between the action can be

extremely annoying and frustrating to the player.

131131

Storytelling Storytelling Techniques:Techniques:Gameplay ItselfGameplay Itself Each challenge faced by the player in the Each challenge faced by the player in the

game should somehow advance the story.game should somehow advance the story. If a challenge does not do this, the player will If a challenge does not do this, the player will

wonder what the point was in overcoming it.wonder what the point was in overcoming it. This includes puzzles, obstacles, enemies, and This includes puzzles, obstacles, enemies, and

essentially every other gameplay element.essentially every other gameplay element. Again the challenge should be consistent Again the challenge should be consistent

with the story and the player’s role in how it with the story and the player’s role in how it unfolds.unfolds. It must be reasonable for the challenge to exist It must be reasonable for the challenge to exist

and for the player to have to overcome it in and for the player to have to overcome it in order to complete their long-term objectives.order to complete their long-term objectives.

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Storytelling Storytelling Techniques:Techniques:Gameplay ItselfGameplay Itself

Screen shot from Zork I. By finding a way into the house, we advancethe story and the player is allowed to proceed further.

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Storytelling Storytelling Techniques:Techniques:Gameplay ItselfGameplay Itself Most writings on game stories agree Most writings on game stories agree

that the ideal is to put as much that the ideal is to put as much storytelling into game moments as storytelling into game moments as possible.possible.

Doing this, however, is not as easy Doing this, however, is not as easy as it sounds, as this is breaking new as it sounds, as this is breaking new ground in storytelling.ground in storytelling. However, this is likely a worthy goal for However, this is likely a worthy goal for

game developers to strive for.game developers to strive for.

storytelling 2 storytelling n in the early days of video games, storytelling was usually only done...

Documents

beginning n

act structure n

middle n

storytelling n

n backstory

n setting

n plot

n characters