Deconstructing the Best Interactive Storytelling

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

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

3. An Ambitious Thesis The best game storytelling can stand up to the storytelling in any other medium.

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.

5. Designer/Writer: Brian MoriartyDeveloper: Lucasfilm GamesReleased: 1990

7. The Story

8. Gameplay

9. Loom Storytelling Lessons • Transcend Genre • Beauty is more than skin deep • Endings can be more than “cheering elves”

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

11. Great Writing Unparalleled Atmosphere Cagey Cutscenes Integrated Characters So Many Things Done So Well

12. Inversion Layers • First Person…Sneaker • Standard Mission Objectives

13. Inversion Layers • Generic magic medieval fantasy world • Cut-out Cut-scenes

14. Familiarity Breeds • Repeatedly begin with something that looks familiar • Then introduce the unexpected elements

15. In Its Own Right • As inventive as any good fantasy literature • Moments that feel archetypal but are quite original

16. Integrated World • A world that feels rich and alive through its responsiveness to player • Creatures and characters integrated • Taciturn narrator

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

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

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

20. Colorful reinforcing narrative exposition

21. Colorful reinforcing narrative exposition... AND gameplay

22. Equippable bits etched with exposition AND gameplay

23. Gratutitous fountains of text exposition and text exploration

24. Alignment: simple model of personality and morality many dialog tests and choices narrative and gameplay feedback Gratutitous fountains of text exposition and text exploration

25. Varied, Vivid, Charming Characters “Get your eyes off my arse.” “I think, therefore I am… I think.” “You know what? We should get some female zombies to join this party, right, chief?” “What can change the nature of a man?”

26. Planescape: TormentStorytelling 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

27. Creative Director/Lead Writer: Ken LevineDeveloped by Irrational/2K BostonReleased: 2007

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

29. Designer/Developer: Cliff JohnsonReleased: 1987

30. The Story

31. The Puzzles

32. Sun’s Map

33. The Fool’s Errand Storytelling Lessons • Less is more • Find a style that works • Integrate story and gameplay

34. The Fool’s Errand Storytelling Lessons • Less is more • Find a style that works • Integrate story and gameplay www.fools-errand.com

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

36. The Chronicles of RiddickNarrative 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

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

38. Turnabout Is Gameplay • Turnabout Court • Original Title: Gyakuten Saiban • Emphasis on Reversal • Plot Twists, • Reversals in Character

39. The Heroes • Phoenix Wright and Associates • The Good Guys

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

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

42. Designing for the Payoff • Highly iconic, stylized characters • Very few animations, used sparingly • Good guys are boring

43. Payola Villains also exhibit few animations at first...

44. But When They Crack… Under pressure…

45. But When They Crack… Truth will out…

46. But When They Crack… The gloves (and toupee) are off!

47. Phoenix WrightStorytelling 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)

48. Director/Designer: Fumito UedaDeveloper: Sony Computer Entertainment Japan/ Team IcoReleased: 2001

49. Ico Storytelling Lessons • Emotional relationship as gameplay mechanic • Minimalist storytelling • Character definition through animation • Unique Tone, Story and Emotion

50. Emotional Relationship as Gameplay Mechanic