Fundamentals of Game Design, 2 nd Edition by Ernest Adams Chapter 7: Storytelling and Narrative

Chapter 7 Storytelling and Narrative2 © 2009 by Pearson Education, Inc. Objectives Discuss why stories are important to video games and know the definitions of story and narrative in games Know the differences in player actions, in- game events, and narrative. Understand how to use story, character, and narrative to engage the player

Chapter 7 Storytelling and Narrative3 © 2009 by Pearson Education, Inc. Objectives (Cont.) Describe the difference between linear and nonlinear storytelling Design a foldback, nonlinear story with multiple endings Understand how you can use episodic storytelling to encourage players to subscribe to additional versions of your franchise

Chapter 7 Storytelling and Narrative4 © 2009 by Pearson Education, Inc. Why Put Stories in Games? Stories add entertainment Stories attract a wider audience Stories maintain players’ interest in long games Stories help sell the game

Chapter 7 Storytelling and Narrative5 © 2009 by Pearson Education, Inc. Why Put Stories in Games? (Cont.) Story should not be more important than gameplay Factors when considering how much story to include:  Length of the game  Focus on individual characters  Degree of realism  Emotional richness

Chapter 7 Storytelling and Narrative6 © 2009 by Pearson Education, Inc. Key Concepts A story is an account of a series of events Requirements of good stories:  A good story must be credible, coherent, and dramatically meaningful An interactive story includes three kinds of events:  Player events  In-game events  Narrative events

Chapter 7 Storytelling and Narrative7 © 2009 by Pearson Education, Inc. Key Concepts (Cont.) Narrative is the part of the story told to the player by the designer Primary function of narrative is to present events over which the player has no control  Narrative may be in the form of a movie, cut-scenes, scrolling text, or voiceover  Narrative must be interruptible  Balance narrative with action to keep players interested Agency is the player’s power to change the future of the story. Also called dramatic freedom.

Chapter 7 Storytelling and Narrative8 © 2009 by Pearson Education, Inc. Key Concepts (Cont.) Dramatic tension and gameplay tension  Dramatic tension Something important is at stake. What will happen? Dramatic tension comes from the plot Fades in the presence of randomness and repetition  Gameplay tension Something important is at stake. What will happen? Gameplay tension comes from the challenges (gameplay) Tolerates randomness and repetition for much longer

Chapter 7 Storytelling and Narrative9 © 2009 by Pearson Education, Inc. The Storytelling Engine Weaves together the gameplay and the story How does it work?  Receives triggers from the core mechanics to track the player’s progress  Presents each narrative block at the correct time  Sends triggers to the core mechanics when the current narrative block is done

Chapter 7 Storytelling and Narrative10 © 2009 by Pearson Education, Inc. The Storytelling Engine (Cont.)

Chapter 7 Storytelling and Narrative11 © 2009 by Pearson Education, Inc. Linear Stories  They require less content than nonlinear ones  The storytelling engine is simpler  They are less prone to bugs and absurdities  They are capable of greater emotional power  They deny the player dramatic freedom  They reduce the replay- value of the game Player can’t change the story – no agency Challenges are part of the story Pros and cons of linear stories:

Chapter 7 Storytelling and Narrative12 © 2009 by Pearson Education, Inc. Nonlinear Stories Branching stories – a lot of agency  Provide a different experience when different choices are made  Player has an immediate, deferred, or cumulative effect on the game  More expensive and complicated to build than linear stories  The player must play repeatedly to see all the content

Chapter 7 Storytelling and Narrative13 © 2009 by Pearson Education, Inc. Nonlinear Stories (Cont.) Foldback stories – limited agency  Compromise between branching and linear stories  Plot branches, but the branches fold back into a single inevitable event  Offer players some agency without the cost and complexity of a branching story  Easiest nonlinear story type to devise and most commercially successful

Chapter 7 Storytelling and Narrative14 © 2009 by Pearson Education, Inc. Nonlinear Stories (Cont.) Emergent narrative  Storytelling produced entirely by player actions and in-game events—story emerges from act of playing  More agency because the sequence of events is not fixed by a story structure  Puts a perhaps impossible burden on the core mechanics to produce credible stories  At present, no commercial games use purely emergent narrative

Chapter 7 Storytelling and Narrative15 © 2009 by Pearson Education, Inc. Nonlinear Stories (Cont.) Endings  Include multiple endings to provide an outcome that reflects the player’s dramatic actions  Should provide an emotionally satisfying conclusion  Use multiple endings if each one will wrap up the story in a way consistent with player’s choices and play  Don’t include them just because you can. Have a reason.

Chapter 7 Storytelling and Narrative16 © 2009 by Pearson Education, Inc. Granularity Frequency of presenting narrative to the player Large granularity reflects less frequent narrative blocks Small granularity reflects more frequent narrative blocks

Chapter 7 Storytelling and Narrative17 © 2009 by Pearson Education, Inc. Mechanisms for Advancing the Plot Story as a series of challenges or choices  Plot advances as the player meets challenges or makes choices  Common method of plot advancement Story as a journey  Arriving at a location triggers plot movement  Provides novelty  Player controls the pace

Chapter 7 Storytelling and Narrative18 © 2009 by Pearson Education, Inc. Mechanisms for Advancing the Plot (Cont.) Story as a drama  Storytelling engine advances the plot  Player cannot control the pace  Not a common method

Chapter 7 Storytelling and Narrative19 © 2009 by Pearson Education, Inc. Emotional Limits of Interactive Stories Story needed to arouse complex emotions Emotional limits of nonlinear stories  Alternate endings might not be the most powerful  Designers often create a single ending so players experience emotionally satisfying end Emotional limits of avatar-based games  Avatar should survive  Companions can die

Chapter 7 Storytelling and Narrative20 © 2009 by Pearson Education, Inc. Scripted Conversations and Dialog Trees Use a dialog tree to design scripted conversations Choosing from several possible responses injects the player’s personality Player’s choices can affect the core mechanics Core mechanics and character attributes can affect what happens in the dialog

Chapter 7 Storytelling and Narrative21 © 2009 by Pearson Education, Inc. When to Write the Story Make a list of episodes or levels during the concept stage Write the story during the elaboration stage

Chapter 7 Storytelling and Narrative22 © 2009 by Pearson Education, Inc. Other Considerations Remember that you are creating an interactive game, not writing a novel Sequels are a vital source of income Creating episodes and delivery systems could provide more income in the future

Chapter 7 Storytelling and Narrative23 © 2009 by Pearson Education, Inc. Summary You should now understand  Why stories are important in games  How to use story, character, and narrative to immerse the player  How to distinguish between linear and nonlinear stories  How to design a foldback, nonlinear story with multiple endings  How to use episodic storytelling to encourage player subscriptions