1. ewadams@designersnotebook.com www.designersnotebook.com +44-1483-237599 I’m a member of Interactivity versus Narrative: This Time It’s War! Ernest W. Adams Game Design Consultant

2. Approaches to Interactive Storytelling Linear story punctuated by periods of gameplay Linear story punctuated by periods of gameplay Branching storylines Branching storylines Independent, interwoven strands seen as quests Independent, interwoven strands seen as quests Series of puzzles that advance the plot as they are solved Series of puzzles that advance the plot as they are solved

3. Linear Story Punctuated by Periods of Gameplay Story and gameplay are separate. Story and gameplay are separate. Player only sees more of the story by completing missions. Player only sees more of the story by completing missions. If you fail a mission, the story stops. If you fail a mission, the story stops. Starcraft is a classic example. Starcraft is a classic example. Mission STORY Mission STORY

4. Branching Storylines Story and gameplay are separate. Story and gameplay are separate. Player advances the story by completing missions. Player advances the story by completing missions. If you win, the story goes one way. If you lose it goes the other. Sometimes it does not matter. If you win, the story goes one way. If you lose it goes the other. Sometimes it does not matter. However, the number of options must be limited. However, the number of options must be limited. Wing Commander is the classic example. Wing Commander is the classic example. Final Battle Victory Defeat

5. Interwoven Strands Offered as Quests One large story, many small ones. One large story, many small ones. Small stories are optional quests. Small stories are optional quests. Player can abandon a quest he is not interested in. Player can abandon a quest he is not interested in. Commonly used in role-playing games. Commonly used in role-playing games. Baldur’s Gate is a good example. Baldur’s Gate is a good example. Location MAIN STORY Optional Quest Optional Quest

6. Series of Puzzles that Advance the Plot Unlike the linear story punctuated by missions, in this case the puzzles are part of the story. Unlike the linear story punctuated by missions, in this case the puzzles are part of the story. This is the classic adventure game mechanism. This is the classic adventure game mechanism. LucasArts’ Monkey Island games are a good example. LucasArts’ Monkey Island games are a good example. STORY Puzzle

7. The Story as a (Linear) Jigsaw Puzzle Everything must fit together. Everything must fit together. This is how the reader understands and believes what is happening. This is how the reader understands and believes what is happening. This is also how the reader feels emotionally satisfied. This is also how the reader feels emotionally satisfied. STORY READER

8. The Story as a (Linear) Jigsaw Puzzle If a piece is missing, or the wrong piece is there, then the reader is confused or will not like the story. If a piece is missing, or the wrong piece is there, then the reader is confused or will not like the story. STORY (part missing) READER ?? !! !! !! STORY (wrong part)

9. The Movie Casablanca Made in 1942, during World War II. Made in 1942, during World War II. One of the best movies ever made. One of the best movies ever made. The script was not finished before they started filming the movie. The script was not finished before they started filming the movie. This is very unusual. This is very unusual. The writers were writing new scenes the day before they were filmed. The writers were writing new scenes the day before they were filmed. The writers did not know how it would end! The writers did not know how it would end!

10. The Setting of Casablanca The town of Casablanca, French Morocco. The town of Casablanca, French Morocco. The time: 1941, during World War II. The time: 1941, during World War II. Casablanca is technically part of neutral France, but the Germans have a powerful influence. Casablanca is technically part of neutral France, but the Germans have a powerful influence. Many refugees from the war are trying to escape to Lisbon (truly neutral) and then on to America. Many refugees from the war are trying to escape to Lisbon (truly neutral) and then on to America. To leave they must have a visa or a “Letter of Transit” (a document allowing anyone to go). To leave they must have a visa or a “Letter of Transit” (a document allowing anyone to go). The Chief of Police is corrupt. He sells visas for money. The Chief of Police is corrupt. He sells visas for money.

11. The Major Characters in Casablanca Ilsa Lund Victor Laszlo Rick Blaine Resistance hero Ilsa’s husband Runs a club in Casablanca Ilsa’s old lover In English this is called a “love triangle.”

12. The Background of the Story Victor Laszlo is a hero of the Czech Resistance. Victor Laszlo is a hero of the Czech Resistance. He is married to Ilsa Lund. This is a secret. He is married to Ilsa Lund. This is a secret. Before the movie begins, he was captured and taken to a German concentration camp. Before the movie begins, he was captured and taken to a German concentration camp. Ilsa was told that Victor was dead. Ilsa was told that Victor was dead. Later, Ilsa met Rick Blaine in Paris just before the Germans marched in. Later, Ilsa met Rick Blaine in Paris just before the Germans marched in. They became lovers. Rick does not know about Victor. They became lovers. Rick does not know about Victor. Ilsa was going to escape with Rick on the train. Ilsa was going to escape with Rick on the train. Ilsa suddenly learned that Victor was alive, and she did not go with Rick. She did not tell him why. Ilsa suddenly learned that Victor was alive, and she did not go with Rick. She did not tell him why.

13. The Background of the Story Rick Blaine now runs a bar and casino in Casablanca. Rick Blaine now runs a bar and casino in Casablanca. He is still unhappy from being abandoned by Ilsa. He does not know why she left him. He is still unhappy from being abandoned by Ilsa. He does not know why she left him. He does not care about anything or anyone. He does not care about anything or anyone. Rick does not want to be involved in the war. Rick does not want to be involved in the war. Rick says he will never take a risk to help anyone else. Rick says he will never take a risk to help anyone else. Rick has two Letters of Transit. Rick has two Letters of Transit.

14. The Minor Characters in Casablanca French Chief of Police Louis Renault German head of the Gestapo Major Strasser

15. The Background of the Story Chief of Police Louis Renault is corrupt. Chief of Police Louis Renault is corrupt. If there is a crime he does not want to investigate, he always says, “Round up [arrest] the usual suspects.” He does not look for the real criminal. If there is a crime he does not want to investigate, he always says, “Round up [arrest] the usual suspects.” He does not look for the real criminal. He does not like the Germans, but he is afraid of them. He will not give or sell Victor Laszlo a visa. He does not like the Germans, but he is afraid of them. He will not give or sell Victor Laszlo a visa. Major Strasser is the local head of the German Secret Police. Major Strasser is the local head of the German Secret Police. He is trying to stop Victor Laszlo from leaving. He is trying to stop Victor Laszlo from leaving.

16. The Situation Near the End of the Movie Victor and Ilsa have arrived in Casablanca. Victor and Ilsa have arrived in Casablanca. They are hoping to go to America. They are hoping to go to America. They meet Rick by accident. They meet Rick by accident. Victor does not know that Ilsa and Rick were lovers. Victor does not know that Ilsa and Rick were lovers. Rick does not know that Ilsa and Victor are married. Rick does not know that Ilsa and Victor are married. Rick and Ilsa discover that they still love each other. Rick and Ilsa discover that they still love each other. Now the writers have a big problem! Now the writers have a big problem!

17. Who Should Ilsa Go With? If Ilsa goes with Rick… If Ilsa goes with Rick… Rick can use his Letters of Transit to take Ilsa away. Rick can use his Letters of Transit to take Ilsa away. Ilsa must leave her husband, a Resistance hero. Ilsa must leave her husband, a Resistance hero. If Ilsa goes with Victor… If Ilsa goes with Victor… Rick must give his Letters of Transit to them. Rick must give his Letters of Transit to them. Ilsa and Rick will never see each other again. Ilsa and Rick will never see each other again. Both men have very strong emotional connections to Ilsa. Both men have very strong emotional connections to Ilsa.

18. How Do They Get Away? Louis will not do anything to help. Louis will not do anything to help. The Germans will do anything to stop them. The Germans will do anything to stop them. Something must happen to force the situation. Something must happen to force the situation. Victor can do nothing without being caught by the Germans. Victor can do nothing without being caught by the Germans. Ilsa does not know what to do. Ilsa does not know what to do. Rick wants to keep Ilsa for himself. Rick wants to keep Ilsa for himself. Someone must do something… but what? Someone must do something… but what?

19. Now we find out!

20. What Did the Writers Do? They said, “Round up the usual suspects!” They said, “Round up the usual suspects!” From this you can solve the puzzle. From this you can solve the puzzle. “Round up the usual suspects.” means that there will be a crime, but the criminal will escape. “Round up the usual suspects.” means that there will be a crime, but the criminal will escape. What crime? What crime? Somebody will be killed. Murder is the major dramatic crime. Somebody will be killed. Murder is the major dramatic crime. Who will be killed? Who will be killed? Who do we all hate? We all hate Major Strasser. Who do we all hate? We all hate Major Strasser. If Major Strasser dies, then Victor can escape. If Major Strasser dies, then Victor can escape.

21. What Did the Writers Do? Who will kill Major Strasser? Who will kill Major Strasser? Victor? No. He is a refugee, he does not have the power. Victor? No. He is a refugee, he does not have the power. Ilsa? No. She is also a refugee, and she is not a killer. Ilsa? No. She is also a refugee, and she is not a killer. Captain Renault? No. He is afraid of the Germans. Captain Renault? No. He is afraid of the Germans. Rick? Yes. Because Rick understands that he must now fight. Rick? Yes. Because Rick understands that he must now fight. Who will Ilsa go with? Who will Ilsa go with? Rick? No. Because even though she loves him, the war is more important. And Rick is now a criminal. Rick? No. Because even though she loves him, the war is more important. And Rick is now a criminal. Victor? Yes. Because he needs her to help him in his work. Victor? Yes. Because he needs her to help him in his work. It was possible to write a different story, but there was no time and no money. It was possible to write a different story, but there was no time and no money.

22. Casablanca Is A Great Story The ending is believeable and emotionally satisfying. The ending is believeable and emotionally satisfying. The pieces all fit together perfectly. The pieces all fit together perfectly. It could have been different, but that would have required more filming. It could have been different, but that would have required more filming. MOVIE VIEWER !!! Rick makes Ilsa go with Victor CRIME: Rick kills Major Strasser “Round up the usual suspects.” THE END

23. What does this have to do with interactivity?

24. NOTHING!

25. Why Casablanca Cannot Be An Interactive Story Casablanca is a great movie, but the author must have total control of it. Casablanca is a great movie, but the author must have total control of it. Like a jigsaw puzzle, there is only one way that it works. Like a jigsaw puzzle, there is only one way that it works. But games are about giving the control to the player. But games are about giving the control to the player. If the player can change Casablanca, the emotional power of the story is destroyed. If the player can change Casablanca, the emotional power of the story is destroyed. MOVIE Rick makes Ilsa go with Victor CRIME: Rick kills Major Strasser “Round up the usual suspects.” THE END 

26. Emotional Limits of Interactive Entertainment Freedom allows the player to make choices that feel emotionally wrong. Freedom allows the player to make choices that feel emotionally wrong. What if the player wants Ilsa to kill Victor and become the lover of Major Strasser? What if the player wants Ilsa to kill Victor and become the lover of Major Strasser?    Emotional limits of a single avatar character: Emotional limits of a single avatar character: Like a first-person book, the player knows that the avatar is not supposed to die in the middle of the story. Like a first-person book, the player knows that the avatar is not supposed to die in the middle of the story. Emotional limits caused by replayability: Emotional limits caused by replayability: If something happens that the player does not like, he just reloads and try again. If something happens that the player does not like, he just reloads and try again. Emotional power comes from the fact that there are things we cannot change. Emotional power comes from the fact that there are things we cannot change. Ilsa must always leave Rick and go with Victor. Ilsa must always leave Rick and go with Victor.

27. Three Problems for Interactive Storytellers The Problem of Internal Consistency The Problem of Internal Consistency The Problem of Narrative Flow The Problem of Narrative Flow The Problem of Amnesia The Problem of Amnesia “Amnesia” is a medical condition. “Amnesia” is a medical condition. It means that you cannot remember who you are, where you live, or what happened to you in the past. It means that you cannot remember who you are, where you live, or what happened to you in the past.

28. The Problem of Internal Consistency How do you make sure the player fits the jigsaw puzzle together correctly? How do you make sure the player fits the jigsaw puzzle together correctly? Suppose the player’s avatar is Superman. Suppose the player’s avatar is Superman. Can Superman ignore someone who needs help? Can Superman ignore someone who needs help? No. Superman always helps. Otherwise he is not Superman. No. Superman always helps. Otherwise he is not Superman. What if the player wants to ignore someone who needs help? What if the player wants to ignore someone who needs help? Either the player changes the nature of Superman, or… Either the player changes the nature of Superman, or… We take the player’s freedom away. We take the player’s freedom away. Do we want a correct jigsaw puzzle, or do we want the player to have freedom? Do we want a correct jigsaw puzzle, or do we want the player to have freedom?

29. The Problem of Narrative Flow Every story has a dramatic climax. Every story has a dramatic climax. Long stories have smaller ones as well. Long stories have smaller ones as well. How can you be sure the player is ready for the dramatic climax when it happens? How can you be sure the player is ready for the dramatic climax when it happens? ACTION IN A SHORT STORY ACTION IN A LONG STORY DRAMATIC CLIMAX

30. Setting Up a Dramatic Climax In a book or a movie, the author has total control. In a book or a movie, the author has total control. The author makes sure that all things, people, events, etc. are in the right situation for the dramatic climax. The author makes sure that all things, people, events, etc. are in the right situation for the dramatic climax. In a game, there is one character the designer does not control: the player! In a game, there is one character the designer does not control: the player! The designer cannot make the player do things. The designer cannot make the player do things. If the player has freedom, it is hard to make the narrative flow correctly, to make sure the dramatic climax will work. If the player has freedom, it is hard to make the narrative flow correctly, to make sure the dramatic climax will work.

31. Solution #1 to the Problem of Narrative Flow Limit the interactivity somehow. Limit the interactivity somehow. Disconnect the interactivity from the story. Disconnect the interactivity from the story. Don’t allow the player to change the story. Don’t allow the player to change the story. This happened in Starcraft. This happened in Starcraft. Give the player interactivity, but it does nothing. Give the player interactivity, but it does nothing. It only feels like it affects the story, but really it does not. It only feels like it affects the story, but really it does not. Kill the player if he leaves the story you made! Kill the player if he leaves the story you made! Dragon’s Lair (old arcade game): Only one correct decision at each point. Make the wrong choice and you die. Dragon’s Lair (old arcade game): Only one correct decision at each point. Make the wrong choice and you die. Not really a good solution. The player wants interactivity! That is why he is playing! Not really a good solution. The player wants interactivity! That is why he is playing!

32. Solution #2 to the Problem of Narrative Flow Allow the world to continue around the player. Allow the world to continue around the player. This permits interesting worlds that feel alive. This permits interesting worlds that feel alive. Even if the player does nothing, the story goes on. Even if the player does nothing, the story goes on. If the player is not ready, he loses the game! If the player is not ready, he loses the game! The game is really a time-challenge. The game is really a time-challenge. The player must achieve every task before the dramatic climax happens. The player must achieve every task before the dramatic climax happens. Not a good solution. The player loses the game a lot, because he is not ready. Not a good solution. The player loses the game a lot, because he is not ready. He has to start over again and again and again… He has to start over again and again and again…

33. Solution #3 to the Problem of Narrative Flow Tie the movement of the story to the player’s actions. This is the adventure game solution. Tie the movement of the story to the player’s actions. This is the adventure game solution. When the player does the right thing, the story goes forward. When the player does the right thing, the story goes forward. When the player does the wrong thing, or nothing, the story just waits. When the player does the wrong thing, or nothing, the story just waits. The dramatic climax only happens when the player has done everything necessary. The dramatic climax only happens when the player has done everything necessary. This works, but it feels mechanical. This works, but it feels mechanical. The story stops and starts all the time. The story stops and starts all the time.

34. The Problem of Amnesia The people in a story live in their world. The people in a story live in their world. They know what is in the world, how it works. They know what is in the world, how it works. They do not have to explore it. They do not have to explore it. The player comes into the world from outside. The player comes into the world from outside. The player does not know what is in the world. The player does not know what is in the world. He has amnesia: no memory of being here before. He has amnesia: no memory of being here before. The player must explore everything and talk to everyone in order to understand it. The player must explore everything and talk to everyone in order to understand it. This is not normal for a story! This is not normal for a story!

35. Three Problems for Interactive Storytellers Here are the problems again: Here are the problems again: The Problem of Internal Consistency The Problem of Internal Consistency The Problem of Narrative Flow The Problem of Narrative Flow The Problem of Amnesia The Problem of Amnesia What can we do about them? What can we do about them? Unfortunately, not very much. Unfortunately, not very much. These problems are caused by the fundamental nature of narrative itself. These problems are caused by the fundamental nature of narrative itself.

36. Interactivity and Narrative There is a tension between interactivity and narrative. There is a tension between interactivity and narrative. Narrative is about the author’s control. Narrative is about the author’s control. The author must have authority. The author must have authority. The author takes you by the hand and leads you through the story. The author takes you by the hand and leads you through the story. Interactivity is about the player’s freedom. Interactivity is about the player’s freedom. The player chooses his own path through the story. The player chooses his own path through the story.

37. Is It Really a War? No. No. Interactivity and narrative are not in conflict. Interactivity and narrative are not in conflict. They are in an inverse relationship. They are in an inverse relationship. The more you have of one, the less you have of the other. The more you have of one, the less you have of the other. You must find the right balance between them. You must find the right balance between them. INTERACTIVITY NARRATIVE

38. My Suggestion for a Solution Interactivity and narrative work together to entertain the player. Interactivity and narrative work together to entertain the player. Some games need no narrative, like Tetris. Some games need no narrative, like Tetris. Narrative with no game is a book or movie. Narrative with no game is a book or movie. Interactivity lets people do things they could not really do. I think this is why they play. Interactivity lets people do things they could not really do. I think this is why they play. People play games to feel freedom and power. People play games to feel freedom and power. Narrative sets the scene and creates the world they play in. Narrative sets the scene and creates the world they play in.

39. Think About These Two Kinds of People Soldiers in the trenches in World War I. In the war, but no freedom at all. A wealthy businessman in Peru during World War I. Total freedom, but not in the war.

40. Who Is In Between Them? A commando… A commando… A resistance fighter… A resistance fighter… A spy… A spy… Someone who is involved in an important situation, and also has the power to make a difference in it. Someone who is involved in an important situation, and also has the power to make a difference in it. Sidney Reilly “Ace of Spies”

41. Our Role as Designers I believe that we should not try to tell stories. I believe that we should not try to tell stories. If the player wants to hear a story, he can read a book or watch a movie. If the player wants to hear a story, he can read a book or watch a movie. I believe it is our role to create worlds in which stories can happen. I believe it is our role to create worlds in which stories can happen. We create the context – the world – then we give the player freedom within that world. We create the context – the world – then we give the player freedom within that world. This is why Grand Theft Auto III is so important. This is why Grand Theft Auto III is so important. It is a world in which the player can experience many stories. It is a world in which the player can experience many stories. This is what MMORPGs like Lineage already do. This is what MMORPGs like Lineage already do.

42. Games that separate interactivity and narrative are only temporary solutions. They are not true interactive narratives. Games that separate interactivity and narrative are only temporary solutions. They are not true interactive narratives. My Dream for Interactive Narratives Mission STORY Mission STORY In a true interactive narrative you cannot tell the difference between the story and the action. In a true interactive narrative you cannot tell the difference between the story and the action. We can do this now in a limited way. We can do this now in a limited way. Half-Life is a good example. Half-Life is a good example.

43. The Future of Digital Storytelling I believe our goal for Digital Storytelling is to duplicate the function of a Dungeon Master in a role-playing game. I believe our goal for Digital Storytelling is to duplicate the function of a Dungeon Master in a role-playing game. The Dungeon Master creates the world… The Dungeon Master creates the world… …but he also can change the world (and the story opportunities) in response to the player’s interests. …but he also can change the world (and the story opportunities) in response to the player’s interests. This is called “Automated Storytelling.” This is called “Automated Storytelling.” It needs artificial intelligence about stories and gameplay. It needs artificial intelligence about stories and gameplay. It is our most important challenge. It is our most important challenge. It may take another 20 or 50 years. It may take another 20 or 50 years.

44. Thank You! Thank you to… Thank you to… Wook, KOH Wook, KOH Sang Hyo, YUK Sang Hyo, YUK In Hwa, Lee In Hwa, Lee Bong Kwan, CHUN Bong Kwan, CHUN … and the Digital Storytelling Society. … and the Digital Storytelling Society. And thank you to… And thank you to…YOU! … for giving me the honor of listening to me.

45. A Short Commercial Announcement I have written a book: Andrew Rollings and Ernest Adams on Game Design. I have written a book: Andrew Rollings and Ernest Adams on Game Design. It is being translated into Korean now, and will be available in mid- November. It is being translated into Korean now, and will be available in mid- November. I have a small number of English copies here for sale for 50,000 Won. I have a small number of English copies here for sale for 50,000 Won.

46. ewadams@designersnotebook.com www.designersnotebook.com +44-1483-237599 I’m a member of Interactivity versus Narrative: This Time It’s War! Ernest W. Adams Game Design Consultant