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Storytelling

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Title: Storytelling


1
Storytelling
2
Storytelling
  • In the early days of video games, storytelling
    was usually only done in the context of adventure
    games.
  • Modern video games of all genres can have some
    story elements.
  • It might be a key part of the game, or it might
    just be to provide a setting and motivation for
    the game.
  • Either way, it is important to understand how
    good stories are told.
  • There are three key parts to any story
  • Plot, setting, and characters.

3
PlotThe Three Act Structure
  • The basic structure of a good plot is really
    quite simple.
  • A story must have a beginning, a middle, and an
    end.
  • Each must be done properly for the story to be
    effective.

Act 2 The Middle
Act 1 The Beginning
Act 3 The End
4
PlotThe Beginning
  • A story begins the moment the player has a
    problem that is when the game should begin.
  • Many writers, however, start the story before the
    beginning.
  • They go over history, extensive background of the
    character, and so on. The action begins too
    late.
  • Most good stories begin with the character
    already involved or engaged.
  • You grab the players attention first, and fill
    in back story as you go along.
  • Start with simple threats and obstacles that
    establish mood and setting, and begin to form and
    advance the story as these are overcome.

5
PlotThe Beginning
Screen shot from the Legend of Zelda The
Ocarina of Time. It has a classic introduction
that involves the player right from the start.
6
PlotThe Middle
  • Once initial obstacles are dealt with, it is now
    time to provide more of the big picture.
  • Give more background and motivations, and set the
    players actions in a larger context.
  • Provide additional obstacles to the player
    throughout the story.
  • Each time one is overcome, a new and harder one
    must be faced to reach the long-term goal.
  • The best obstacles also require the hero of the
    game, and the player in turn, to deal with some
    kind of inner conflicts and challenges. To
    overcome these, growth of some form is required.

7
PlotThe Middle
Act 1
Act 3
Act 2
8
PlotThe End
  • The story ends when the player achieves the
    long-term objective of the game.
  • The last part of a game should bring together the
    themes and issues introduced throughout the
    game.
  • In the last part of the game, the player must
    overcome the ultimate villain, the source of the
    obstacles throughout the game.
  • In the end, there must be something or someone
    that does not want the player to succeed.
  • To face off with this ultimate villain at the end
    of the story, and emerge victorious is very
    satisfying.

9
PlotThe End
Screen shot from Mario 64. This is one of the
final scenes witha show down against the main
villain.
10
PlotSummary
  • Keep in mind the three act structure of the plot
    of a story.
  • Remember this old writers maxim
  • In the first act, you get your hero up a tree.
  • In the second act, you throw rocks atyour hero.
  • In the third act, you get the hero back down.

11
Setting
  • Setting is something usually done well in most
    modern video games.
  • Graphics and sound technologies have advanced to
    the point where good settings can be easily
    created.
  • Setting, however, is not just a physical
    location.
  • It is the whole world created to tell your story.
  • In creating this world, you should invent only
    one what if? and everything else should flow
    from this.
  • After this, everything should be as real as
    possible without any contradictions.
  • Choose a setting that will visually entertain.
  • By keeping the setting vivid and consistent, you
    will more easily be able to immerse the player.

12
Setting
Screen shot from Unreal Tournament 2003. Visuals
like these really help establish the setting of
the game.
13
Character Development
  • Characters can be the most fascinating part of a
    story.
  • There are two basic philosophies here
  • Avoid creating a strong central character only
    provide a bare outline, and allow the player to
    fill in the rest with themselves.
  • Create a character with a well defined
    personality, attitude, and background.
  • Success can be had either way.

14
Character Development
Dooms generic space marine
Duke Nukem
15
Character Development Creating a Character
  • Creating a memorable character is hard, but the
    rewards can be great.
  • Both artistically and commercially.
  • Try to create a character that can be easily
    identified with by the player.
  • Try to find problems that we all have as
    individuals and allow the player to fantasize
    that they can actually be solved through the hero
    created.

16
Character DevelopmentNon Player Characters
  • Non player characters fill an important role in
    many video games.
  • They can reveal emotions and reactions that the
    hero cannot show.
  • They help establish mood and tone in very
    effective ways that are difficult to do
    otherwise.
  • Example
  • Your hero should face down the ultimate villain
    without any fear.
  • By having non player characters cowering in the
    background at the same time, this emotion can
    still be instilled in the game player.

17
Character DevelopmentNon Player Characters
Screen shot from Golden Axe. The villagers
scream and flee at the villains assault. One is
being attacked to the rightbehind the dragon.
18
Character DevelopmentNon Player Characters
Screen shot from The Thing. Computer controlled
team mates experience and display fear earning
and keep their trustis an important aspect of
the game.
19
Character DevelopmentCharacter Growth
  • Character growth in video games is often
    difficult to accomplish.
  • We can have characters grow by improving their
    vital statistics, by making them stronger, and by
    granting them new abilities.
  • This is not the same kind of growth found in
    traditional storytelling.
  • The difficulty comes from the fact that the
    character is controlled by the player.
  • Ultimately, growth is determined by the
    experiences had by the player in playing the game.

20
The Effects of Interactivity
  • Because of interactivity with the player, the
    storyteller of a game does not have sole control
    over the flow of the story.
  • This is a tight balancing act the nonlinear
    freedom given to a player, and the linearity
    needed to have a well-constructed story.
  • Again, the best way to overcome this is through a
    series of linearly connected open areas.
  • Give the player freedom to meet challenges as
    they see fit, which can result to a variety of
    game experiences.
  • These experiences are strung together in a linear
    fashion so that the storyteller still retains a
    good measure of control over the story.

21
The Effects of Interactivity
Screen shot from Halo. The player traverses
several open areas strung together in a linear
fashion. Very well done.
22
Storytelling Techniques
  • In a video game, there are really two ways that
    storytelling can take place.
  • Through the actions of the characters.
  • Through dialog.
  • If something is to be part of the story, it must
    show up in one of those two forms.

23
Storytelling TechniquesCut Scenes
  • Cut scenes are essentially out-of-game miniature
    movies.
  • If you do not deliver professional-quality work,
    the game will suffer for it.
  • Each cut scene should have specific goals.
  • Develop characters.
  • Introduce a new environment.
  • Advance the plot.
  • Establish mission goals.
  • For best results, it is a good idea to
    collaborate with professionals to do this.

24
Storytelling TechniquesCut 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 series used them as a main
storytelling element.
25
Storytelling TechniquesScripted Events
  • Scripted events are brief sequences within levels
    that are usually triggered by some player
    activity.
  • They can be pieces of dialog or small bits of
    action.
  • They can provide back story, build character, or
    direct the player towards new goals.
  • Be careful, however, that your scripted events do
    not break the players immersion!

26
Storytelling TechniquesScripted 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.
27
Storytelling TechniquesDialog
  • Good dialog sounds nothing like regular speech.
  • We stumble, pause, and repeat ourselves.
  • Good dialog must be crisp, to the point, and
    without a word wasted.
  • Every line of dialog should advance the story and
    develop character.
  • A few tips on dialog
  • Never have a character say something in dialog
    that the player already knows.
  • Keep dialog realistic, and consistent with the
    mood, setting, and characters in the dialog.
  • When writing dialog, less is more. Keep it short.

28
Storytelling TechniquesDialog
Screen shot of the Legend of Zelda Ocarina of
Time. Dialog is a critical point in advancing
the story, even if it is done in text form.
29
Storytelling TechniquesPuzzles and Obstacles
  • As mentioned earlier, each puzzle or obstacle
    faced by the player in the game should some how
    advance the story.
  • If they do not, the player will wonder what the
    point was in overcoming it.
  • Again the puzzle or obstacle should be consistent
    with the story and the players role in how it
    unfolds.
  • It must be reasonable for each puzzle or obstacle
    to exist and for the player to have to overcome
    it in order to complete their long-term
    objectives.

30
Storytelling TechniquesPuzzles and Obstacles
Screen shot from Zork I. By finding a way into
the house, we advance the story and the player is
allowed to proceed further.
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