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Deconstructing the Best Interactive Storytelling

Generic magic medieval fantasy world. Cut-out Cut-scenes. Familiarity ... A world that feels rich and alive through its responsiveness to player ...

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Deconstructing the Best Interactive Storytelling

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    Slide 1:Deconstructing the Best Interactive Storytelling

    Richard Rouse III (Paranoid Productions) Marc Laidlaw (Valve) Steve Meretzky (Blue Fang) Ken Rolston (Big Huge Games) Game Developer’s Conference, 2008

    Slide 2:True or False?

    “Stories are irrelevant to games.” “Stories in games can’t compete with stories in other mediums.” “All game writing sucks.”

    Slide 3:An Ambitious Thesis

    The best game storytelling can stand up to the storytelling in any other medium.

    Slide 4:A Best Practice

    To become better game storytellers, we must identify and study the games that have told stories well it well in the past.

    Slide 5:Designer/Writer: Brian Moriarty Developer: Lucasfilm Games Released: 1990

    Slide 7:The Story

    Slide 8:Gameplay

    Slide 9:Loom Storytelling Lessons

    Transcend Genre Beauty is more than skin deep Endings can be more than “cheering elves”

    Slide 10:Lead Designer: Tim Stellmach Principle Writers: Terri Brosius, Laura Baldwin Developer: Looking Glass Studios Released: 1998

    Slide 11:So Many Things Done So Well

    Great Writing Unparalleled Atmosphere Cagey Cutscenes Integrated Characters

    Slide 12:Inversion Layers

    First Person…Sneaker Standard Mission Objectives

    Slide 13:Inversion Layers

    Generic magic medieval fantasy world Cut-out Cut-scenes

    Slide 14:Familiarity Breeds

    Repeatedly begin with something that looks familiar Then introduce the unexpected elements

    Slide 15:In Its Own Right

    As inventive as any good fantasy literature Moments that feel archetypal but are quite original

    Slide 16:Integrated World

    A world that feels rich and alive through its responsiveness to player Creatures and characters integrated Taciturn narrator

    Slide 17:Thief Storytelling Lessons

    Ground the world in reality Emphasis on elements that can be undermined, inverted, abridged Gradual encrustation of strangeness Let all the elements mingle Fine writing brings it all to fruition, as much as fine game design

    Lead Designer: Chris Avellone Developer: Black Isle Studios Released: 1999

    Slide 19:Narrative Virtues

    Theme, Setting, Characters, and Plot “Am I a good man, or a bad man?” Sense of Place – Art and Setting Design Varied, Vivid, Charming Characters The plot is all about me... … who am I? why can’t I die? Gameplay Alignment Dialog Twisted D&D

    Colorful reinforcing narrative exposition Colorful reinforcing narrative exposition... AND gameplay Equippable bits etched with exposition AND gameplay Gratutitous fountains of text exposition and text exploration Gratutitous fountains of text exposition and text exploration Alignment: simple model of personality and morality narrative and gameplay feedback many dialog tests and choices “You know what? We should get some female zombies to join this party, right, chief?” “I think, therefore I am… I think.” “Get your eyes off my arse.” “What can change the nature of a man?” Varied, Vivid, Charming Characters

    Slide 26:Planescape: Torment Storytelling Lessons

    Theme, Setting, Characters, and Plot “Am I a good man, or a bad man?” Sense of Place – Art and Setting Design Varied, Vivid, Charming Characters The plot is all about me... … who am I? why can’t I die? Gameplay Alignment Dialog Twisted D&D

    Slide 27:Creative Director/Lead Writer: Ken Levine Developed by Irrational/2K Boston Released: 2007

    Slide 28:BioShock Storytelling Lessons

    (Almost) No breaks in the gameplay Story and game combined as one, through: environment design audio scripted sequences montage/image-overlay Distinct sense of place Unique story and compelling dialog/VO

    Slide 29: Designer/Developer: Cliff Johnson Released: 1987

    Slide 30:The Story

    Slide 31:The Puzzles

    Slide 32:Sun’s Map

    Slide 33:The Fool’s Errand Storytelling Lessons

    Less is more Find a style that works Integrate story and gameplay

    Slide 34:The Fool’s Errand Storytelling Lessons

    Less is more Find a style that works Integrate story and gameplay www.fools-errand.com

    Lead Designers: Fredrik Ljungdahl, Jens Andersson Writers: Mikael Säker, John Platten, Flint Dille Developers: Starbreeze, Tigon Released: 2004

    Slide 36:The Chronicles of Riddick Narrative Virtues

    Slick, Self-Assured Use of License Strong Protagonist, Strong Rendering Interface Tailored to the Protagonist Gameplay Tailored to the Protagonist Prison Setting – Asymmetrical Conflict Gameplay: Riot Guard – Undefeatable enemy; solution is luring and evasion. Emphasize smart over powerful… and when you DO got something powerful, it is Over the Top and comically cheerful.Gameplay: Riot Guard – Undefeatable enemy; solution is luring and evasion. Emphasize smart over powerful… and when you DO got something powerful, it is Over the Top and comically cheerful.

    Slide 37:Director/Writer: Shuu Takumi English Translator: Alexander O. Smith Developed by Capcom Released: 2001 (Japan, GBA), 2005 (North America, DS)

    Slide 38:Turnabout Is Gameplay

    Turnabout Court Original Title: Gyakuten Saiban Emphasis on Reversal Plot Twists, Reversals in Character

    Slide 39:The Heroes

    Phoenix Wright and Associates The Good Guys

    Slide 40:Opposing Farce

    The Villains Opposing Counsel Uncooperative Witnesses These guys are the key to the game’s success

    Slide 41:Liars

    Everyone has a secret Everyone lies Everyone cracks under pressure Out comes the kernel of truth Insight into character also gives solution to the mystery and solves the crime that drives each episode

    Slide 42:Designing for the Payoff

    Highly iconic, stylized characters Very few animations, used sparingly Good guys are boring

    Slide 43:Payola

    Villains also exhibit few animations at first...

    Slide 44:But When They Crack…

    Under pressure…

    Slide 45:But When They Crack…

    Truth will out…

    Slide 46:But When They Crack…

    The gloves (and toupee) are off!

    Slide 47:Phoenix Wright Storytelling Lessons

    Characters serve as point where gameplay and narrative intersect Clever character design opens new gameplay possibilities Core mystery is one of character (same technique is successfully deployed in Bioshock and Torment)

    Slide 48:Director/Designer: Fumito Ueda Developer: Sony Computer Entertainment Japan/ Team Ico Released: 2001

    Slide 49:Ico Storytelling Lessons

    Emotional relationship as gameplay mechanic Minimalist storytelling Character definition through animation Unique Tone, Story and Emotion

    Slide 50:Emotional Relationship as Gameplay Mechanic

    Slide 51:Emotional Relationship as Gameplay Mechanic

    Slide 52:Emotional Relationship as Gameplay Mechanic

    Slide 53:Storytelling Through Animation

    Slide 54:Emotional relationship as gameplay mechanic Minimalist storytelling Character definition through animation Unique Tone, Story and Emotion

    Ico Storytelling Lessons

    Slide 55:True or False?

    The best game storytelling can stand up to the storytelling in any other medium

    Slide 56:Additional Stories Worth Playing

    Richard’s Extras: The Last Express Grant Theft Auto: Vice City A Mind Forever Voyaging Marc’s Extras: Ecstatica Myst The Legend of Zelda: Majora’s Mask Steve’s Extras: Suspended The Legend of Zelda: Ocarina of Time Portal Ken’s Extras: Gadget Myth Call of Duty Betrayal at Krondor Slides and more at: www.paranoidproductions.com/storiesbestplayed Richard: rr3@paranoidproductions.com Marc: laidlaw@valvesoftware.com Steve: sem@bluefang.com Ken: krolston@bighugegames.com Contact:

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