Games Need More Artfully Story-Entwined Gameplay 145
Movie and Game writer Justin Marks has written an impassioned plea for the industry to concentrate more on artfully story-entwined gameplay, exploring what he thinks major titles are missing these days. "But for the most part, we as an industry are stuck in the same trap that GTA exemplifies. We value narratives in games, we understand their purpose and their necessity, and yet we have no idea how to parse them effectively into the game's interactive structure. As technology gets better, the weaknesses of poor story integration are more exposed."
Call me old fashioned.... (Score:4, Interesting)
Nice idea, but the devil is in the details (Score:5, Interesting)
The key, I believe, is to write generic stories, and fill in the blanks with details generated during game play. For instance, instead of specifying a specific location where a scene takes place, specify what type of location and other elements necessary to trigger the scene, then when the players meet the criteria, the scene is triggered with the specific details coming from the environment, not the author.
Same goes for characters, write them generically, and use appropriate game-generated character that meet the plot criteria instead of saying it has to be a certain person.
As for plot, multi branching plot structures aren't really that hard, people have been doing it since the 50s in romance novels. The big publishers had a flowchart outlining the accepted plot possibilities and stables full of mediocre writers to fill in the details.
The key is in understanding dramatic tension. You raise tension by posing meaningful questions and you lower it by answering them. In some sense, it doesn't matter what the questions are or how they are answered, only that they are meaningful to the reader. By using game generated specifics to ask the questions, and player choices to answer them, it becomes more likely the player will find the questions meaningful.
So in a basic sense, one can look at a plot element as consisting of entry conditions, scene, props, characters, questions, and exit conditions. You specify what has to be true for the element to become active, what types of scene, characters and props are involved, what questions are asked, and what the possible outcomes are.
But this is much harder than simply dictating what will happen in a story. And it guarantees that every player is going to miss some content. No writer likes to think they are writing something that might not even get read, but for dynamic stories to work, that is what has to happen.
Good comment (Score:5, Interesting)
Bethesda are great at trying to avoid this, and they spent a ton of time on it (compare the Morrowind to Oblivion engines, and see the designer commentary on all the work they had to do just to get the "watch a guy hide something" quest early in Morrowind to work right). But they still sometimes fall back on the trap.
The basic problem is, for a quest/story mechanic to work, you need triggers. Somewhere in the game, there's a bit or routine that checks for X, Y, Z completion requirements. "Is X in inventory and talking to Bob selecting Dialog Option 3" make for a really easy set of variables to code for, and then the game flips the bit so that X is removed from inventory. Even quests that are "Go talk to person X" are really fedex quests - you're "carrying" a bit that signifies that you're on the quest and person X is who you need to talk to, thus when you talk to them, the appropriate dialog box (which probably wasn't available before) is opened up... you've just handed in the "plot coupon [tvtropes.org]" as it were.
The better a programmer hides the triggers - making you hide somewhere (in-game) and spy on someone, or specifically avoid encounters to get a really good item or piece of info - the better and more seamless the story will seem. The underlying programming still needs those triggers, though.
My suggestion? Stop buying crappy games like GTA, and go with games where the programmers put some thought into the storyline and making it fit better. The industry could survive just fine with a few less programmers making crappy movie-tie-in games (*coughIronmancough*) and a few more making really GOOD games like Thief or Oblivion.
Re:How about artfully Gameplay-entwined stories? (Score:3, Interesting)
Still, one of the coolest CRPGs ever.
Re:Nice idea, but the devil is in the details (Score:4, Interesting)
If the game play mechanics are open ended enough, and the elements contain enough individualized characteristics, and there are enough connections between elements, then the elements will be unique. For instance, the author specifies 'big dumb fighter' as a necessary character for a scene in a tavern. The game searches through instantiated characters for one meeting the criteria, and it turns out that not only has the player interacted with a 'big dumb fighter' before, the fighter has a brother who is commander of the watch. This was not specified by the author, it just happens to be true in this particular instance of the game. Suddenly, the upcoming bar fight becomes a lot more interesting.
Re:How about artfully Gameplay-entwined stories? (Score:3, Interesting)
Movies cost $7 (Score:3, Interesting)
For it to be worth $50, you have to give me something I want to play over and over again. Story is a nice accent for a game, but keep it in its proper place. Put the game play first and make sure that when the game play conflicts with the story it's the story that loses.
The other thing is this: as a brilliant software architect, you are neither a brilliant writer nor a brilliant producer. Play it smart: play to your strengths.
The Japanese have it down... (Score:4, Interesting)
Here's how I would describe it: The US is OBSESSED with unique complex plots with twists and turns everywhere, cliches are completely taboo. However, the storytelling is dry and purposefully attempts to extingish the idea of a creator. It's very post-modern in that respect, games really attempting to put the world into the hands of the player, and not give any emotional opportunity for the artist.
Japan, on the flipside, has no problem with a distinct separation of powers between creator and audience. Games are played from a more traditional artistic/entertainment standpoing: there is a creator who shares his/her thoughts and stories with an audience that genuinely engaged with them. Japenese storytelling may relly very heavily on architypes and cliches, but the details are all very original, with the creator's individuality coming through very strongly.
I truly feel that the USs post-modernist approach to game storytelling (ie: GTA, Mass Effect, Oblivion, ect.) will be shortlived and is doomed to inevitable extiction, for the same reason folks don't sit around the camp fire and listen to John Cage. This is a phase we're going through due to our current socio-political climate and fascination with the gadgetry of a new medium. It's sort of like the German expressionist film period. Eventually people will settle into video games being just another narrative medium like any other, with a distinct separation of powers between creator and audience. Obviously games will always provide a little more interaction than other mediums, but eventually that will be relegated to things like time frame (when and how you chose to interact with the story), and not in the actual creation of a story itself.
Most of the pleasure of a plot comes from not knowing what's going on, learning about the characters involved, and exploring the world that the creators have created for you. Something is very lost when the creator says things, "you create the characeters as you see fit", and "you create the structure as you see fit". and "the plot is yours to make". The enjoyment of LEARNING about the game-world is subtley but inexpicably lost.
This is a wholey american phinominon that is little more than a decade-or-so long passing phase. I think GTA IV or GTA V will see this come to a close. Things like Bioshock will probably be closer to what we'll see in the future, with set paths but subtle choices along the way.
Re:What's wrong with linear (Score:2, Interesting)
However, not until games can actually make your actions have actual, non-scripted consequences (or lots and lots and lots of scripted ones), games will have to be linear to tell a decent story. I don't think we have the technology to be able to do that yet (wait for AI).
Re:Nice idea, but the devil is in the details (Score:3, Interesting)
I think a closer analogy to improv is the roll of GM in a table-top RPG. In that case, a human is able to be present and interact with players. Offline videogames are incapable of having direct human action between players and creator. Therefor, they are really no different from any other narrative art form, except that the audience is able to move through the creator's world in any manner they see fit.
Call me old fashioned, but I want to feel the creator in any work I participate in. I want to know what they think and feel, I use narrative as a way of connecting with people who I think may have some pretty interesting things to say intellectually and emotionally. Games have this power like any other art form. I feel that what you are suggesting severs the very connection that I find the most fascinating about narrative.
Re: Stop buying crappy games GTA (Score:2, Interesting)
The problem is that there aren't too many of them to choose from, and what's available is mostly meh.
What's worse is that a LOT of the critically acclaimed games which had excellent stories ended up flopping which is really really sad (eg Anachronox, Vampire the Masquerade: Bloodlines, Psychonauts, etc) and has made story less of a priority for publishers.