1. Chapter 15-16 Mats Wouters

2. One Kind of Experience is the Story

3.  Traditionally: Story Gameplay  Early games were like traditional games  More and more games with combination of story and gameplay

4. Gameplay ruins a good story. Games with story have been cheapened. “Story and gameplay are like oil and vinegar. Theoretically they don’t mix, but if you put them in a bottle and shake them up real good, they’re pretty good on a salad. ” -Bob Bates-

5.  Story does add to gameplay  Thick or subtle  Abstract game: make up your own story

6.  Fundamentally, interactive storytelling = non-interactive storytelling  Decisions are made in both  Interactive: ability to take action  Interactive storyteller must anticipate player’s actions

7.  Never complete freedom -> limited options  What works: ◦ The String of Pearls ◦ The Story Machine

8.  The String of Pearls (A.K.A. Rivers and Lakes): ◦ Non-interactive story segment followed by gameplay -> gameplay followed by non-interactive story segment ◦ Nice balance

9.  The Story Machine: ◦ System that generates stories through interaction ◦ Players string together events ◦ No author -> no real stories?

10.  When players have different choices about how to achieve goals, new and different stories can arise. How can I add more of these choices?  Different conflicts lead to different stories. How can I allow more types of conflict to arise from my game?  When players can personalize the characters and setting, they will care more about story outcomes, and similar stories can start to feel very different.  How can I let players personalize the story?  Good stories have good interest curves. Do my rules lead to stories with good interest curves?  A story is only good if you can tell it. Who can your players tell the story to that will actually care?

11.  The Problems: ◦ Good Stories Have Unity Story is one from beginning to end; multiple endings can feel watered down ◦ The Combinatorial Explosion Choices lead to same conclusion to prevent too many outcomes ◦ Multiple Endings Disappoint Not all endings are equal

12.  The Problems: ◦ Not enough verbs Games consist mostly around actions; not ideal for branching storytelling ◦ Time Travel Makes Tragedy Obsolete Interactivity means no inevitability

13.  Goals, Obstacles, and Conflicts ◦ Character (player) has goal, has to face obstacles and conflicts ◦ Surprising, engaging ◦ Obstacles not congruent with goal -> bad story

14.  What is the relationship between the main character and the goal? Why does the character care about it?  What are the obstacles between the character and the goal?  Is there an antagonist who is behind the obstacles? What is the relationship between the protagonist and the antagonist?  Do the obstacles gradually increase in difficulty?  Some say “The bigger the obstacle, the better the story. ” Are your obstacles big enough? Can they be bigger?  Great stories often involve the protagonist transforming in order to overcome the obstacle. How does your protagonist transform?

15.  Provide Simplicity and Transcendence ◦ Game worlds are simpler than reality and provide the player with more power ◦ Popular themes:  Medieval  Futuristic  War  Modern

16.  How is my world simpler than the real world? Can it be simpler in other ways?  What kind of transcendent power do I give to the player? How can I give even more without removing challenge from the game?  Is my combination of simplicity and transcendence contrived, or does it provide my players with a special kind of wish fulfillment?

17.  Consider the Hero’s Journey 1.The Ordinary World 2.The Call to Adventure 3.Refusal of the Call 4.Meeting with the Mentor 5.Crossing the Threshold 6.Tests, Allies, Enemies 7.Approaching the Cave 8.The Ordeal 9.The Reward 10.The Road Back 11.Resurrection 12.Returning with the Elixir

18.  Does my story have elements that qualify it as a heroic story?  If so, how does it match up with the structure of the Hero’s Journey?  Would my story be improved by including more archetypical elements?  Does my story match this form so closely that it feels hackneyed?

19.  Put Your Story to Work ◦ Adjust the story to beter suit the rest of the game  Keep Your Story World Consistent ◦ If you have a set of rules that define how things work in your world, stick with them, and take them seriously

20.  Make Your Story World Accessible ◦ Accessibility for audience > Reality ◦ Integrate weird things in a way that doesn’t make them seem weird -> normal thing in an unusual world

21.  What’s the weirdest thing in my story?  How can I make sure that the weirdest thing doesn’t confuse or alienate the player?  If there are multiple weird things, should I may be get rid of, or coalesce, some of them?  If there is nothing weird in my story, is the story still interesting?

22.  Use Clichés Judiciously ◦ Feel free to use clichés, but don’t overuse them  Sometimes a Map Brings a Story to Life ◦ Stories can form not only through words, but through visuals as well

23.  Does my game really need a story? Why?  Why will players be interested in this story?  How does the story support the other parts of the tetrad (aesthetics, technology, gameplay)? Can it do a better job?  How do the other parts of the tetrad support the story? Can they do a better job?  How can my story be better?

24. Story and Game Structures can be Artfully Merged with Indirect Control

25.  When do my players have freedom of action? Do they feel free at these times?  When are they constrained? Do they feel constrained at these times?  Are there any places I can let them feel more free than they do now?  Are there any places where they are overwhelmed by too much freedom?

26.  Feeling of freedom  Best of two worlds: player has freedom, designer has control  Possible through indirect control

27.  Indirect control methods: ◦ Constraints Give the player a limited amount of options ◦ Goals Clear goals can lead the player ◦ Interface Gives the player a sense of what they can and cannot do ◦ Visual Design Layout can control a player’s actions ◦ Characters Good characters can motivate the player ◦ Music Can give the player an idea of what to do

28.  Ideally, what would I like the players to do?  Can I set constraints to get players to do it?  Can I set goals to get players to do it?  Can I design my interface to get players to do it?  Can I use visual design to get players to do it?  Can I use in-game characters to get players to do it?  Can I use music or sound to get players to do it?  Is there some other method I can use to coerce players toward ideal behavior without impinging on their feeling of freedom?

29.  Collusion: ◦ Multiple design aspects used for unified effect

30.  What do I want the player to experience?  How can the characters help fulfill this experience, without compromising their goals in the game world?