Interactive Multimedia Games Development COM631

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Interactive Multimedia Games Development COM631

• Week 6 Storytelling Process

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Revised schedule
Please note assignment 3 submission is now moved
to week 8
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Learning Outcomes

• Understand the process of story telling in the
  context of computer game development process
• Be aware of standard storytelling techniques
• Understand plot development, conventions and the
  roles each character type plays

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Storytelling in Games

• Until recently storytelling in computer games was
  mainly restricted to adventure games
• Majority of games of all genres now have
  storylines or story elements
• Storyline can be an integral part of game or may
  just provide context
• Important to understand the storytelling process

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Storytelling in Games

• Every story has 3 key parts, the plot, the
  setting
• and characters
• The plot is about how a drama/story unfolds and
  develops
• The setting is the world being explored in the
  story, it includes the world geography, history
  and setting
• The characters are the participants in the story,
  having experiences and interacting with world
  elements

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Traditional Storyline Structures

• Storytelling is an ancient art. It follows a
• traditional structure/formula. There are 2 forms
• predominant in gaming
• The Three Act Structure
• The Heros Journey (Monomyth)

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Three Act Structure

• Common Hollywood technique
• Simple idea/structure
• A story has a beginning, middle and an end

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Three Act Structure Beginning

• Capture player interest by placing them into the
  action or drama of the story
• Back story and background events are introduced
• Objective of this stage is to capture the
  players attention by drawing them into the story
• This phrase should also introduce the quest or
  players task as early as possible

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God of War Beginning

• God of War tells the story of Kratos
• The game's opening shows Kratos hurling himself
  down a mountain because the gods of Olympus have
  abandoned him
• During the game you learn what made Kratos switch
  from a brutally efficient mass murderer to a
  suicidal cliff diver.

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Three Act Structure Beginning

• Different approaches to the Beginning
• One approach is that the game starts with the
  plot already in motion and the problem introduced
  immediately
• Back story/background information is added later
• Other approach is to start with back story before
  the problem is introduced
• This allows the player to bond with the character

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Three Act Structure Middle

• Middle section of the story usually involves a
  range of obstacles that the character must
  overcome to resolve the problem
• Additional back story/background is introduced
  here

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Three Act Structure Middle

• Essential to introduce new obstacles throughout
  the middle section
• Each task accomplished should lead to a harder
  challenge
• Hero must face choices that make them develop and
  grow
• Game play focuses on mental and physical tasks
• Story driven conflict plays on emotions

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Three Act Structure Middle

• Traditionally obstacles appear in a linear
  fashion
• Game platform allows for non linear plot
  development based on multiple paths
• This allows player freedom and more control over
  their experience

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Three Act Structure End

• The end is where the problem identified in the
  beginning is resolved
• The player has achieved the long-term objective
  of the game
• The end should bring together and resolve all
  themes and issues introduced in the game

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Three Act Structure End

• At the end of the game, the player must overcome
  the final boss or villain
• This boss was the main source of the
  obstacles\challenges in the game
• This act of vanquishing the final boss should be
  very rewarding for the player

God of War 2 Final Boss
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Three Act Structure End

• Game non-linearity can provide multiple paths
  through the middle act
• It can also provide multiple endings to a game
• Each ending should make sense to the player in
  the context of their actions in the game
• These alternate endings should reflect success or
  failure based on players actions in the game

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Multiple Endings

• Path through Shadow the Hedgehog is six stages
  long followed by a final boss fight
• There are 326 different paths you can take in the
  game
• With over 20 levels to explore
• And many different endings to see

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Three Act Structure Summary

• Three act structure is a simple and easy to
• follow template for a game story line. It is
  based
• on simple premise
• Get your hero in a mess
• Make it worse
• Get the hero out of the mess

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Heros Journey (Monomyth)

• Heros Journey or Monomyth
• Common cross cultural story pattern
• Common in films e.g. Star wars
• Can be used in games

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Heros Journey (Monomyth)
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Heros Journey (Monomyth)

• Home/exposition is where the main character is
  introduced in ordinary surroundings before the
  start of the adventure
• Call is where the main character is called to an
  adventure. They leave their ordinary world to go
  on a quest or journey
• Leads to another unknown world

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Heros Journey (Monomyth)

• Refusal is where the hero initially rejects the
  call as they do not want to leave the comfort and
  safety of a familiar world
• Usually the decision to leave is not
  straightforward leading to ramifications later
• Further information is usually given at this
  stage by a mentor that changes the heroes plans
• This leads to the heroes departure to undertake
  the quest

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Heros Journey (Monomyth)

• The hero is tested during the journey usually in
  the form of challenges
• These challenges involve solving problems, facing
  their fears and defeating enemies
• This process allows the hero to growth and
  develop
• The journey usually ends with the hero rewarded
  (not always but usually)

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Heros Journey (Monomyth)

• The journey involves many ordeals
• Usually the biggest challenge is near the end
  when the hero is nearly safe
• This is usually the greatest conflict and can
  lead to success or failure
• This usually involves resurrection where an enemy
  reappears (Twist in the tale)

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Heros Journey (Monomyth)

• The return marks the end of the journey
• The hero returns to the ordinary world left
  behind at the start of the story
• The process is circular, it ends where it begins
  but the hero has under gone a life changing
  experience
• The circular format allows the process to begin
  again

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Heros Journey (Monomyth)

• This structure is not rigid and can be varied,
  this stops the format being overused or becoming
  stale
• Story can focus on individual stages
• Some stages can be omitted
• Resurrection is widely used in games where the
  boss returns
• This format is not suitable for multi-character
  stories with multiple main characters

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Developing the Plot

• The plot is how the story unfolds rather than
  what the story is about
• It is about how the elements connect and are
  related and interact
• Every storytelling format has plot elements to
  guide the story along

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Plot Development

• In computer games game play and plot are
  inherently interconnected using story elements
• Obstacles and challenges are linked to plot of
  the story engaging the player
• The story progresses by the completion of
  challenges and removal of obstacles

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Conflict Balancing

• Tension is maintained by having the player always
  close to disaster and narrowly escaping
• This necessitates careful balancing in the design
  of the story and the game play
• Extra effort required in multi-player games where
  balance between players must be maintained

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Emphasis Shifting

• To keep the player interested and the story
  dynamic it is necessary to shift the focus of the
  player
• This gives the player the choice and freedom to
  deviate from the main storyline but at some stage
  they need to return
• This is achieved by varying quests, missions and
  tasks and introducing new characters or weapons

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Foreshadowing Events

• Foreshadowing is a standard technique hinting
• at a some future event or forthcoming change.
• It serves a number of purposes
• To provide a warning to the player
• To set mood or tone
• To build anticipation or a feeling of trepidation
• To engage player (second guess outcome)
• To set the tone or mood in the game

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Suspension of Disbelief

• Suspension of disbelief relates to a players
• acceptance of the artificial world created within
• the game
• It allows for the acceptance of the rules and
  experiences of the game world
• Immersion allows the player to become totally
  involved in the game blocking out the real world
  accepting it as reality

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World Consistency Realism

• Realism is used in games to mimic real world as
  closely as possible (Genre dependant)
• World consistency is essential to maintain player
  immersion
• Regardless of context the story/plot must be
  believable in terms of consistency

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Plot Development Interactivity

• Computer games are an interactive medium
• Storyteller shares/cedes control of story flow
  with the player
• In some instances the player takes on the roles
  of story formation and guides plot development

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Nonlinear Plot Development

• Traditional storytelling follows a linear path
  developing temporally
• Computer games add interactivity giving player
  choice
• Balance required between linear nature of the
  storyline and non linear action facilitated by
  player freedom

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Nonlinear Plot Development

• This is usually achieved through a series of
  linearly connected open areas
• This allows the player the freedom to undertake
  challenges in their own time which results in a
  variety of game experiences
• These individual episodes are put together in a
  linear fashion enabling the storyteller to
  retain control over the story

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Fourth Wall Convention

• Fourth wall convention is theatrical reference
• Tradition theatre sets have three walls
• The audience views the play through the invisible
  fourth wall
• Actors perform as if the fourth wall is as real
  as the others
• Ignoring this convention removes the illusion
  that the actors on stage are not aware that
  someone is watching them

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Fourth Wall Convention

• Traditionally you comply with this convention
• Breaking it reduces player immersion as the
  actors are acknowledging the game is not real
• Occasionally (carefully) done in the form of
  commentary

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Crisis, Climax Plot Resolution

• Crisis, climax and resolution is another classic
• approach used in storytelling
• Crisis is where the challenge is introduced and
  tension begins to build
• Climax is the moment of truth e.g. moment of
  confrontation, accusation, conflict or violence
• Resolution is the outcome of the climax brought
  about by the crisis

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Crisis, Climax Plot Resolution

• Tension is raised through a crisis climax
  -resolution format (Major story arc)

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Minor Story Arcs

• There are also minor story arcs
• These are made of single crisis, climax,
  resolution sequences

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Story Setting

• Story setting is typically well done in the
  latest
• computer games aided by photo-realistic
• graphics and high quality sound
• A story setting involves the entire game world
• It includes mood and atmosphere elements e.g.
  time, weather
• These individual element combine together to
  create the game world

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Story Setting

• The creation of a good setting for a computer
  game is
• a complex process
• The story setting should flow naturally from the
  game idea
• All other elements should be set in this context
• The setting should engage the players senses to
  increase immersion

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Stalker Shadow of Chernobyl
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Stalker Shadow of Chernobyl
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Game Characters

• Characters are usually an integral and central
  part of a story and can make a game
• It is essential to ensure the characters are well
  thought out and developed

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Game Characters NPCs

• Characters are controlled by the player or the
  game (NPC)
• Player Characters (PCs) are characters controlled
  by the player
• If there is a single central character it is
  referred to as the players avatar
• Option to have multiple player controlled
  characters

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Game Characters NPCs

• Two basic approaches to player character
• development
• Create the bare bones and let the players
  imagination do the rest
• Develop the complete character with a well
  defined persona
• Both options can be used successfully

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Game Characters NPCs

• NPCs (Non Player Characters) are characters not
  controlled by the player
• Typically controlled by game AI
• NPCs take on various guises to implement
  elements of game play

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Game Characters NPCs

• NPCs fulfill a range of roles in computer
• games
• Help develop storylines, set the tone and convey
  emotions or reactions
• Main player character will fight the boss without
  fear
• The strength of the boss character can be
  conveyed in NPCs e.g. cowering or running away

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Game Character Types

• Range of common character types used in computer
• games
• Licensed characters that exist in the real world
  or another medium (Movies)
• Mythic characters are based in history
• Animal characters derived from animals and given
  human characteristics
• Historical characters from real world history
• Fantasy characters created from scratch

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Game Character Roles

• Range of (classic) roles a character can take in
• a game
• Hero role (Usually the player)
• Role is to overcome challenges and difficulties
  while making a few sacrifices on the way
• Hero typically perform all their own stunts

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Game Character Roles

• Mentor is a character who guides the hero towards
  some action
• Usually portrayed as older and wiser to give
  guidance and advice
• Usually on the heroes side

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Game Character Roles

• The shadow is the opposite of the hero and is
  usually the made villain in the computer game
• Usually main cause of characters problems
• May not appear until the game climax (Raises
  tension)
• Game may include minor shadows

Shadow the Hedgehog
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Game Character Roles

• Main character allies are characters that aid the
  hero and help with tasks
• Allies can take many forms and can be sidekicks
  or pets etc
• E.g. Miles "Tails" Prower from the Sonic the
  Hedgehog series

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Game Character Roles

• Guardian characters are used to impede and test
  the main character
• These can be lieutenants of the shadow

A Tank monster from Quake II.
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Game Character Roles

• Trickster is typically a neutral character used
  to create mischief and cause damage or
  inconvenience
• Can be used to steal players goods or weapons

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Game Character Roles

• A damsel in distress is a character that has been
  kidnapped by a villain
• Usually requires the hero to come to their rescue

Princess Peach Super Mario Bros
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Game Character Types

• As well as character roles there are also
• classic character types associated with any
• Story. These include
• Protagonists
• Antagonists
• Co-protagonist
• Supporting characters

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Game Character Types

• Protagonist is the main character in the game.
• In a single player context the story will center
• around this entity.
• The protagonist will move the story forward by
• causing things to happen rather than reacting

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Game Character Types

• Protagonists are not always good and not always
  the hero
• In some instance the protagonist can be a villain
  or anti-hero
• Classic types include the vigilante, the drifter
  and the noble criminal

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Game Character Types

• The antagonist opposes the protagonist and need
  not be good or evil
• An antagonist is a character or an institution
  who represents the opposition against which the
  hero(es) or protagonist(s) must contend
• Classically where the action consists of a hero
  fighting a villain, the two can be regarded as
  protagonist and antagonist, respectively

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Game Character Types

• Co-protagonists sometimes join forces with the
• protagonist in a game or story
• This is game dependent and could be other player
  or non player character
• Sometimes these characters will cooperate with
  the protagonist
• Sometimes they will compete instead with the main
  player (but not oppose them).

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Game Character Types

• Supporting characters ensure the protagonist
  stays focused on the task
• These characters can either support the
  protagonists or antagonists in the story

Diddy Kong Donkey Kong
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Character Development

• Good character development is difficult
• Essential to create characters that players can
  empathise with by using character traits or
  weaknesses players can identify with
• Character growth is essential but hard to
  accomplish and is not solely (traditionally)
  based on stats, skills or weapons
• Problem due to interactive nature of the medium
  (player control)
• Growth in computer games is based more on the
  player experience

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Character Development

• The process of character development is called
  the character arc
• and is how the character changes throughout the
  story E.g.
• Tootsie (Film) where Dustin Hoffmans character
  begins as a misogynistic chauvinist who plays the
  part of a woman. Through this he changes in how
  he views women and becomes a different character
  by the end.
• In The Godfather, Michael Corleone does not want
  to be a mobster. When his father is attacked and
  barely survives, Michael begins a war of
  retribution on those responsible.
• Based on the game events the character will
  develop in a similar
• fashion to a story arc e.g. crisis, climax, and
  resolution

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Character Development

• Selfish, only concerned with their own needs
• Interpersonal where bonding occurs with another
  character on a one to one basis
• Team bonding with groups with common goals and
  interests
• Community bonding, becoming part of a larger
  organized network
• Humanity, concerned with the well being of
  everyone

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Character Development

• Usually characters start at the lower levels and
  rise to the top as their perspective broaden
  aided by experiences
• Alternatively characters start at a higher level
  and move to lower levels E.g. protagonists
  (villains) and their fall from grace.

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Character Triangle

• Character triangle is a powerful three way
  relationship between contrasting characters in a
  story
• This usually involves the protagonist, the
  antagonist and a supporting character
• Each story can have multiple triangles, each
  representing a sub-plot and characters can appear
  in several triangles at once
• Common example is a love triangle

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Verbal Character Development

• Using monologues characters have the opportunity
  to reveal their inner thoughts and struggles
• Needs to be used effectively

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Visual Character Development

• As the character develops their visual appearance
  can change e.g. body size or build, physical
  appearance, clothing etc...

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Techniques for Storytelling

• In computer games two approaches are used
• to develop stories
• Cut scenes/scripted events
• Verbal commentary

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Cut Scenes

• Cut scenes are short movies that punctuate the
  game where
• each cut scene has specific goals including
• Advancing the plot
• Introducing new levels, weapons or characters
• Pad out mission goals

Python Lives, Metal Gear Solid
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Cut Scenes

• Technologies have evolved to allow the same
  assets to be used for both cut scenes and the
  game
• This consistency increases player immersion
• Downside is that the player loses control

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Scripted Events

• Scripted events are short sequences in levels
• triggered by player activity
• Typically short pieces of dialogue or action
• Helps to built story or direct player E.g. an
  enemy could be shown touching a red box and then
  exploding. This will teach the player that red
  boxes are explosive
• Again needs careful use

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Verbal Commentary

• Verbal commentary has many purposes within
• a game
• It can introduce a character or pad out back
  story
• It can advance the plot
• It can establish relationships

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Verbal Commentary

• Number of different approaches used
• Character monologue is used for illustrating the
  characters mental, emotional, or psychological
  state and inner thoughts
• Narration is commentary made by a NPC to provide
  backstory
• Verbal interaction between two or more characters
  in the game
• Should be brief and to the point

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Verbal Commentary

• Characters are a part of the game and should not
  talk about what they cannot be aware of
• Dialogue should be realistic and consistent with
  other game elements
• It should have a purpose, be brief and to the
  point

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Game Play

• Game play should be used to advance the story
  line
• Each challenge completed should advance the story
• Each challenge should be consistent with the
  story and the players role in it

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Summary

• Story development in games an important process
• Based on traditional techniques
• Needs to be tailored enhanced to cater for non
  linearity and player interaction

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Presentation Schedule Assignment 3 Week 8

• Gavin McLaughlin 9.30
• Jim Murray 10.00
• Aaron Ward 10.30
• Andrew Hetherington 11.00
• Shane McCosker 11.30

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Interactive Multimedia Games Development COM631

• Week 6 Storytelling Process