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
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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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
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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
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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