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By Josiah Lebowitz
What rather makes a game tale interactive? what is the most sensible approach to create an interactive tale? How a lot keep watch over should still avid gamers receive? Do they truly wish that keep watch over within the first position? Do they even comprehend what they want-or are their said wants at odds with the subconscious personal tastes? All of those questions and extra are tested during this definitive booklet on interactive storytelling for games. you will get particular descriptions of all significant forms of interactive tales, case stories of well known video games (including Bioshock, Fallout three, ultimate fable XIII, Heavy Rain, and steel equipment Solid), and the way gamers engage with them, and an in-depth research of the result of a countrywide survey on participant storytelling personal tastes in video games. you will get the professional suggestion you want to generate compelling and unique video game ideas and narratives.With Interactive Storytelling for games, you will: * discover renowned kinds and genres of video games (RPGs, on-line video games, First individual Shooters, and extra) * discover ways to create powerful, unique techniques and tale traces with key elements in brain: constitution, procedure, characters, participant wish, and end result * find out about what avid gamers wish, what they count on, and the way to create really compelling player-driven stories * Get entry to an linked web site with extra information on storytelling personal tastes in video games, helpful PowerPoint lectures for professors for every bankruptcy of the e-book, and hyperlinks to videos, web pages, online game author dialogue forums, and extra
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Additional resources for Interactive Storytelling for Video Games: A Player-Centered Approach to Creating Memorable Characters and Stories
Example text
So it’s often hard to justify the cost and development time for many multiple endings, middles, and beginnings. I was sitting in a room the other day with a half-dozen gamers, all of whom had played Dragon Age: Origins. They were discussing the four main multiple endings amongst themselves as I listened. All these players were big fans. None of them had played the game more than once, even though all of them had played it to completion. When I asked them about the lure of multiple endings, they talked about how cool it was that there were multiple endings, but none of them was intrigued enough to play the game again to see how the alternate path felt, as the game had been satisfying enough once through.
He could offer to work for the other man, talk about the weather, jump up on the table and dance a waltz, or do any of a limitless number of other things. Many of the actions he could take would be pointless, impractical, or even utterly ridiculous, but that doesn’t change the fact that he could do them if he wanted to. But in games, no matter how much freedom players are given, if the design team didn’t put in a dance option, the player can’t dance, and if they didn’t give him the option to talk about the weather, he’ll be unable to do so.
Chris Summary Although games and game stories originally faced serious technical limitations, these limitations have all but disappeared over the past several decades, allowing game designers and writers to create nearly any type of game and story that they can imagine. This freedom has also given rise to a lot of experimentation with new and different storytelling techniques. One especially popular trend is to give players more control with branching path, open-ended, and fully player-driven stories (all of which will be explained in depth in Chapters 6 through 11), though there’s a limit as to how much freedom they can allow.