The Art of Game Design – A Book

of LensesChapter 15-16

Mats Wouters

Chapter 15One Kind of Experience is the Story

Traditionally: Story <-> Gameplay Early games were like traditional games More and more games with combination of

story and gameplay

One Kind of Experience is the Story

Gameplay ruinsa good story. <->

Games with story have been cheapened.

One Kind of Experience is the Story

“Story and gameplay arelike oil and vinegar. Theoretically they don’t mix, but if you put them in a bottleand shake them up real good, they’re pretty good on a salad. ”

-Bob Bates-

Story does add to gameplay Thick or subtle Abstract game: make up your own story

One Kind of Experience is the Story

Fundamentally, interactive storytelling = non-interactive storytelling

Decisions are made in both Interactive: ability to take action Interactive storyteller must anticipate

player’s actions

One Kind of Experience is the Story

Never complete freedom-> limited options

What works:◦ The String of Pearls◦ The Story Machine

One Kind of Experience is the Story

The String of Pearls (A.K.A. Rivers and Lakes):◦ Non-interactive story segment followed by

gameplay-> gameplay followed by non-interactive

story segment◦ Nice balance

One Kind of Experience is the Story

The Story Machine:◦ System that generates stories through interaction◦ Players string together events◦ No author -> no real stories?

One Kind of Experience is the Story

When players have different choices about how to achieve goals, new and different stories can arise. How can I add more of these choices?

Different conflicts lead to different stories. How can I allow more types of conflict to arise from my game?

When players can personalize the characters and setting, they will care more about story outcomes, and similar stories can start to feel very different.

How can I let players personalize the story? Good stories have good interest curves. Do my rules

lead to stories with good interest curves? A story is only good if you can tell it. Who can your

players tell the story to that will actually care?

Lens #65: The Lens of the Story Machine

The Problems:◦ Good Stories Have Unity

Story is one from beginning to end; multiple endings can feel watered down

◦ The Combinatorial ExplosionChoices lead to same conclusion to prevent too many outcomes

◦ Multiple Endings DisappointNot all endings are equal

One Kind of Experience is the Story

The Problems:◦ Not enough verbs

Games consist mostly around actions; not ideal for branching storytelling

◦ Time Travel Makes Tragedy ObsoleteInteractivity means no inevitability

One Kind of Experience is the Story

Goals, Obstacles, and Conflicts◦ Character (player) has goal, has to face obstacles

and conflicts◦ Surprising, engaging◦ Obstacles not congruent with goal -> bad story

One Kind of Experience is the Story

What is the relationship between the main character and the goal? Why does the character care about it?

What are the obstacles between the character and the goal?

Is there an antagonist who is behind the obstacles? What is the relationship between the protagonist and the antagonist?

Do the obstacles gradually increase in difficulty? Some say “The bigger the obstacle, the better the story.

” Are your obstacles big enough? Can they be bigger? Great stories often involve the protagonist transforming

in order to overcome the obstacle. How does your protagonist transform?

Lens #66: The Lens of the Obstacle

Provide Simplicity and Transcendence◦ Game worlds are simpler than reality and provide

the player with more power◦ Popular themes:

Medieval Futuristic War Modern

One Kind of Experience is the Story

How is my world simpler than the real world? Can it be simpler in other ways?

What kind of transcendent power do I give to the player? How can I give even more without removing challenge from the game?

Is my combination of simplicity and transcendence contrived, or does it provide my players with a special kind of wish fulfillment?

Lens #67: The Lens of Simplicity and Transcendence

Consider the Hero’s Journey1. The Ordinary World2. The Call to Adventure3. Refusal of the Call4. Meeting with the Mentor5. Crossing the Threshold6. Tests, Allies, Enemies7. Approaching the Cave8. The Ordeal9. The Reward10. The Road Back11. Resurrection12. Returning with the Elixir

One Kind of Experience is the Story

Does my story have elements that qualify it as a heroic story?

If so, how does it match up with the structure of the Hero’s Journey?

Would my story be improved by including more archetypical elements?

Does my story match this form so closely that it feels hackneyed?

Lens #68: The Lens of the Hero’s Journey

Put Your Story to Work◦ Adjust the story to beter suit the rest of the game

Keep Your Story World Consistent◦ If you have a set of rules that define how things

work in your world, stick with them, and take them seriously

One Kind of Experience is the Story

Make Your Story World Accessible◦ Accessibility for audience > Reality◦ Integrate weird things in a way that doesn’t make

them seem weird-> normal thing in an unusual world

One Kind of Experience is the Story

What’s the weirdest thing in my story? How can I make sure that the weirdest thing

doesn’t confuse or alienate the player? If there are multiple weird things, should I may be

get rid of, or coalesce, some of them? If there is nothing weird in my story, is the story

still interesting?

Lens #69: The Lens of the Weirdest Thing

Use Clichés Judiciously◦ Feel free to use clichés, but don’t overuse them

Sometimes a Map Brings a Story to Life◦ Stories can form not only through words, but

through visuals as well

One Kind of Experience is the Story

Does my game really need a story? Why? Why will players be interested in this story? How does the story support the other parts of the

tetrad (aesthetics, technology, gameplay)? Can it do a better job?

How do the other parts of the tetrad support the story? Can they do a better job?

How can my story be better?

Lens #70: The Lens of Story

Chapter 16Story and GameStructures can beArtfully Merged withIndirect Control

When do my players have freedom of action? Do they feel free at these times?

When are they constrained? Do they feel constrained at these times?

Are there any places I can let them feel more free than they do now?

Are there any places where they are overwhelmed by too much freedom?

Lens #71: The Lens of Freedom

Feeling of freedom Best of two worlds: player has freedom,

designer has control Possible through indirect control

Story and Game Structures can be Artfully Merged with Indirect Control

Indirect control methods:◦ Constraints

Give the player a limited amount of options

◦ Goals Clear goals can lead the player

◦ InterfaceGives the player a sense of what they can and cannot do

◦ Visual DesignLayout can control a player’s actions

◦ CharactersGood characters can motivate the player

◦ MusicCan give the player an idea of what to do

Story and Game Structures can be Artfully Merged with Indirect Control

Ideally, what would I like the players to do? Can I set constraints to get players to do it? Can I set goals to get players to do it? Can I design my interface to get players to do it? Can I use visual design to get players to do it? Can I use in-game characters to get players to do

it? Can I use music or sound to get players to do it? Is there some other method I can use to coerce

players toward ideal behavior without impinging on their feeling of freedom?

Lens #72: The Lens of Indirect Control

Collusion:◦ Multiple design aspects used for unified effect

Story and Game Structures can be Artfully Merged with Indirect Control

What do I want the player to experience? How can the characters help fulfill this

experience, without compromising their goals in the game world?

Lens #73: The Lens of Collusion