Storytelling

Multimedia Games Development COM429 Week 9 Storytelling Process

Learning Outcomes 

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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

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

Storytelling in Games Every story has 3 key parts, the plot, the setting and characters 

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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

Traditional Storyline Structures Storytelling is an ancient art. It follows a traditional structure/formula. There are 2 forms predominant in gaming 

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The Three Act Structure The Hero’s Journey (Monomyth)

Three Act Structure   

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

Three Act Structure: Beginning 

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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 player’s attention by drawing them into the story This phrase should also introduce the quest or players task as early as possible

God of War: Beginning  

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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.

Three Act Structure: Beginning Different approaches to the Beginning 

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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

Three Act Structure: Middle 

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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

Three Act Structure: Middle 

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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

Three Act Structure: Middle 

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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

Three Act Structure: End 

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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

Three Act Structure: End 

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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

Three Act Structure: End   

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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

Multiple Endings 

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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

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

Hero’s Journey (Monomyth)   

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Hero’s Journey or Monomyth Common cross cultural story pattern Common in films e.g. Star wars Can be used in games

Hero’s Journey (Monomyth)

Hero’s Journey (Monomyth) 

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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

Hero’s Journey (Monomyth) 

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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

Hero’s Journey (Monomyth) 

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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)

Hero’s Journey (Monomyth)  

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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)

Hero’s Journey (Monomyth) 

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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

Hero’s Journey (Monomyth) 

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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

Developing the Plot 

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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

Plot Development 

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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

Conflict Balancing 

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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

Emphasis Shifting 

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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

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

Suspension of Disbelief Suspension of disbelief relates to a player’s acceptance of the artificial world created within the game 

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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

World Consistency & Realism 

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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

Plot Development: Interactivity 

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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

Nonlinear Plot Development 

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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

Nonlinear Plot Development 

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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

Fourth Wall Convention  

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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

Fourth Wall Convention  

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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

Crisis, Climax & Plot Resolution Crisis, climax and resolution is another classic approach used in storytelling 

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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

Crisis, Climax & Plot Resolution 

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

Minor Story Arcs 

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

Story Setting Story setting is typically well done in the latest computer games aided by photo-realistic graphics and high quality sound  

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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

Story Setting The creation of a good setting for a computer game is a complex process 

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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

Stalker Shadow of Chernobyl

Stalker Shadow of Chernobyl

Game Characters 

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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

Game Characters & NPC’s 

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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 player’s avatar Option to have multiple player controlled characters

Game Characters & NPC’s Two basic approaches to player character development 

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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

Game Characters & NPC’s   

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

Game Characters & NPC’s NPC’s 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 NPC’s e.g. cowering or running away

Game Character Types Range of common character types used in computer games  

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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

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

Game Character Roles 

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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

Game Character Roles 

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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

Game Character Roles 

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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

Game Character Roles 

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

A Tank monster from Quake II.

Game Character Roles 

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

Game Character Roles 

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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

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

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

Game Character Types 

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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

Game Character Types 

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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

Game Character Types Co-protagonists sometimes join forces with the protagonist in a game or story 

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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).

Game Character Types 

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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

Character Development  

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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

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 Hoffman’s 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.

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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

Character Development  

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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

Character Development 

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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.

Character Triangle 

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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

Verbal Character Development 

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

Visual Character Development 

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

Techniques for Storytelling In computer games two approaches are used to develop stories  

Cut scenes/scripted events Verbal commentary

Cut Scenes Cut scenes are short movies that punctuate the game where each cut scene has specific goals including 

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Advancing the plot Introducing new levels, weapons or characters Pad out mission goals

Python Lives, Metal Gear Solid

Cut Scenes 

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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

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

Verbal Commentary Verbal commentary has many purposes within a game 

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It can introduce a character or pad out back story It can advance the plot It can establish relationships

Verbal Commentary Number of different approaches used 

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Character monologue is used for illustrating the character’s 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

Verbal Commentary 

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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

Game Play 

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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 player’s role in it

Summary 

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

Multimedia Games Development COM429 Week 9 Storytelling Process