Fundamentals of Game Design, 2nd Edition

by Ernest Adams

Chapter 7: Storytelling and Narrative

Chapter 7 Storytelling and Narrative 2© 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 Narrative 3© 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 Narrative 4© 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 Narrative 5© 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 Narrative 6© 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 Narrative 7© 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 Narrative 8© 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 Narrative 9© 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 Narrative 10© 2009 by Pearson Education, Inc.

The Storytelling Engine (Cont.)

Chapter 7 Storytelling and Narrative 11© 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 Narrative 12© 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 Narrative 13© 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 Narrative 14© 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 Narrative 15© 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 Narrative 16© 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 Narrative 17© 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 Narrative 18© 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 Narrative 19© 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 Narrative 20© 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 Narrative 21© 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 Narrative 22© 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 Narrative 23© 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