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Chapter 2.2 Game Writing and Interactive Storytelling PowerPoint Presentation
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Chapter 2.2 Game Writing and Interactive Storytelling

Chapter 2.2 Game Writing and Interactive Storytelling

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Chapter 2.2 Game Writing and Interactive Storytelling

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  1. as told by jeffery Chapter 2.2Game Writing and Interactive Storytelling

  2. Overview 3 ways a story can be experienced Tell Show Do <-- duh! Games can use all 3, but 3rd is best

  3. Know Your Audience Dev team needs to share vision Appropriate storytelling for genre Even shooters seem to benefit from a real back-story...for some

  4. Budget Storytelling? Famous games with ground-breaking stories ...can flop Easy to write plot points that can't be (or exceed budget) conveyed in game...or even in a cutscene

  5. Basic Storytelling Inciting Incident Usually, before game “starts” Maybe an immediate conflict Rising Action Discover identity and capabilities Climax Resolution

  6. Plot Types Linear – player is along for the ride Branching – player sees 1/2k Modified branching, parallel paths Modular storytelling-”sitcom” model Nonlinear Plots-”sandbox” model Quasilinear Plots Linear within a sandbox Forest – many little stories

  7. Interactive Fiction Player's decisions write the story Used in a niche of print books By default, implies Branching Agency The more the player's decisions affect subsequent gameplay, the more real and immersive it feels

  8. Narrative Devices The Spine Those elements that are required in order to complete/finish/win The Golden Path Optimum path to experience the game as intended Maximum rewards Motivation to return to the spine

  9. Algorithmic Storytelling Generate new stories/questlines as a result/consequence of player actions “narrative intelligence” Easy to generate “valid”, hard to generate “interesting” or “fun” Facade [Mateas09]

  10. Story Mechanisms • Cut Scene • Scripted Event • Artifact • NPC • Internal Monologue • Triggered Event

  11. Character Development • Three-dimensional characters vs caricature • Backstory, motivation, goals • Flaws • NPCs that have “a life” other than their quest dialogue • Attributes of player will project onto main character • Less development needed for them • Player actions should affect character personality/capabilities • Hero often ends up more memorable than story line!

  12. Dialogue • Usually, a weakness in games • Spoken vs. Written • Brief and conversational • Avoid empty thread syndrome • Menus vs. chats • Dialogue Trees vs. AIML scripts