Author's note - So while writing a small essay for school I got on the topic of storytelling and while not wanting to vary too far from that paper's thesis I'd like to say more on the topic, so that is what this is going to be. We're going to discuss storytelling in games, popular narration mechanics in other creative media and how they can be adapted to an interactive media. Understanding these will give us a better perspective on how story can be delivered within video games. Now not long ago Bob Chipman -no this blog will not be entirely responses or offshoots of what one internet personality says, Bob just brings up good topics, get off my back- Mr. Chipman as the Game Overthinker put out an episode on the rather popular topic of developing video games into competent film. And because the video was pretty good and I'll be bringing up some of what is mentioned later in this discussion, here, give his blog a quick look and watch it.
MECHANICS
But of course there's more to it than just that, if it was just that the addition of film level graphics and cinematography along with some amazingly detailed mechanics using dialog (morality/story altering) would have catapulted the video game medium into its own Oscar worthy level of appreciation. And we all know it's not achieved that yet, because every year games come out and the major criticism -second to technical flaws- are a poorly designed and executed plot or character experience within the game. The story is boring, the characters are one dimensional, gameplay does not reflect the story or character's experience, the only connection to an excuse of a story are poorly made cutscenes... We've basically heard them all, and the problem is we keep hearing them. Remember Dead Island and that tear jerker tease trailer they had, along with those terrible characters and plot they delivered? Actually the game was just pretty awful in general, I felt no shame in trading that back in for store credit at Gamestop, wish I had bought it pre-owned in the first place if at all actually. So something is broken and it should be fixed, as much as some people might believe it's doing away with cutscenes it's not. Look at Bioshock. That game is held up as a shinning example of how to ingrain story and plot into gameplay, and it does it through cutscenes.
Video games are a medium all to themselves, the take lessons and borrow theory from others like literature and film, but are governed by completely different rules. most important, and noticeable, is that the player has direct influence on the speed of the games/story progression through gameplay. The bulk of their experience is delivered from what their avatar is able to or, in some cases more significantly, not able to do. The gameplay has to reflect the story because that is the part of the characters experience you, as the player, are directly a part of. And because gameplay is what players are truly involved and interested in game designers have gone with themes and a hand full of story forms that can be reflected through gameplay right off the bat.
TANGENT DIVERSION: PULP FICTION
These kind of story forms that just jump right into the action are reminiscent of the pulp fiction of the 1890 - 1950's. "Pulp" referring to the cheap composite wood pulp paper that the magazines were printed on. These magazines were so cheap to produce and had so many different kinds of action packed high fantasy short stories they became thee cheap american entertainment and escapism (besides sports) during the depression era. This basically were (along with comics) the origin of geek culture as we know it, possibly even the origin of the 'Jock vs Geek' click divide that persisted so long throughout our popular culture. Within this largely experimental and new kind of literature some of the greatest writers of that generation were found, names that have spawned works that, through varying forms of media; have lasted generations, become literary classics, and even inspired classics outside of their own medium. Pulp's high fantasy, imaginative visual style was also a clear direct inspiration for early game design, spanning from the arcades and early consoles when pixels were still discovering aesthetic tricks to... well now.
BACK ON TOPIC: MAKING SHAPELY FICTION
I digress, game designers use a many of the same narrative mechanics used in pulp fiction to get the characters into the action as soon as possible to get the player into the game. I'm going to comment on concepts and material for these mechanics from a great book on creative writing by Jerome Stern titled Making Shapely Fiction.
This is literally one of the best practical resources for sharpening storytelling technique and execution I have seen to date. Now all these concepts are within Mr. Stern's book, and I'm just going to summarize a few of the shapes so if his work interests you then seriously, look into it. This book is more then worth getting your hands on if you're getting into a storytelling medium.
BEAR AT THE DOOR
All stories, despite length or content, can be broken down to simple narrative concepts. The distinct way that the creator decided to present their material and the implications on the story that result from that. For an example the first kind of story we are going to talk about is the Bear at the Door, this type is when the character and reader are instantly thrown into the action. Something is wrong and the a pressing issue demands the character's attention right away and in most cases is completely unavoidable. It can be anything from depression, or standing in the trenches with your rifle waiting to hear the whistle and climb over into no-mans land. Notice these kinds of situations demand immediate choices from the characters; the kind of split minute decisions that show the character's true believes and motives, how they react under pressure, the kind of things that are really under the hood. The way the character handles the struggle dictates our immediate impression of the character. The same goes for video games; when after an opening firefight there's a cut-scene and we watch the protagonist goes to kill an enemy, but we see him stop and hold back, we know that even in the face of danger the character holds onto his values.
The true meat of this story shape is the inner conflicts that arise in the face of the bear, it's the smaller more human problems that let us relate to the character. He can't bring himself to become an executioner because despite all his training and the battle going on around him he's still the young man that grew up in that quiet suburban home. Our solider might have gotten into fights at school, but that wasn't anything close to this. Even though his family has always held up their nation's military and the concept of duty with such a high respect life was something completely different then duty or honor, it was sacred. Sacred in the way that never needed to be explained, and yet here he is. Fighting ultimately because more powerful uniforms have told him to, killing people considered enemies because they ultimately felt they needed to stop these soldiers. He realizes he doesn't really want to kill these people, but still has driven to because of his basic self preservation; they seem unyielding in their aggression and he doesn't even know who they are. So there is a pause when he raises his gun. Does he pull the trigger?
The Bear at the Door is even more so true within gameplay and controls. Let's backtrack a bit, Atari's Missile Command -which is probably the best example of a Bear at the Door shape narration in game- from the start of the game you're thrown into the place of the only one able to defend the surrounding towns from the nuclear onslaught. Your decisions must be done in real time and instantly affect gameplay, every move you make effect the outcome of your small digital world. You are instantly interwoven into the full experience, your actions are the story. You feel the responsibility and guilt in the decisions and those emotions become yours.
Next time, Blue Moon and the Journey shape in games and what we could do to do them better.
Read onto Part 2
Next time, Blue Moon and the Journey shape in games and what we could do to do them better.
Read onto Part 2
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