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Presentation to the Forum Transmidia, Sao Paulo, Brazil. Covers Robert Pratten's top 5 best practices in transmedia storytelling.
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Scott Clarke "[looks] at the some of the ways developers tell stories across multiple games, and the challenges associated with each approach."
Using The Walking Dead, Mass Effect, and Assassin's Creed as examples, this article looks at 3 different forms of serialised storytelling for games.
Don't play. But the slight slo mo engine seems uniformly monotonous...
David Jenkins: "GameCentral speaks to the writer of Black Ops II and The Dark Knight, about what makes a good video game story - and a bad video game movie."
Leigh Alexander: "Many players crave more authorship and storytelling in games -- until they get an ending they don't like" ...
Laurie Penny: "Why is rape seen as a reasonable way to "strengthen" female characters?"
Mark Purcell: "How Rockstar tells a great story through an action game."
I come for the combat shotgun. I stay for the epic tale of hope and salvation. Or so it struck me recently...
Daniel Clark: "The rise of narrative in gaming has been exactly that – stories created under the auspices of game design, like any other component, tailored to the experience intended."
As co-founder and GM of BioWare, I’m very proud of the ME3 team; I personally believe Mass Effect 3 is the best work we’ve yet created. So, it’s incredibly painful to receive feedback from our core fans that the game’s endings were not up to their expectations. Our first instinct is to defend our work and point to the high ratings offered by critics – but out of respect to our fans, we need to accept the criticism and feedback with humility.
A good response from BioWare to the controversy surrounding the Mass Effect ending.
"Storytelling, via game writing, has been cast as a subservient player to game design in all but a few cases, and yes it’s developed an inferiority complex. The thing is, it’s a dicotomy that just doesn’t exist. Story and play are built out of the same units."
While perfect as a hot topic that will get chins wagging and comments flowing, the debate over mechanics and narrative is a sideshow. Lets move past it.
[An interesting, if somewhat technical, look at the narrative design of video games.]
What happens within Skyrim's snowy borders is a step closer to the holodeck fantasy many game designers and players are familiar with – an immersive, dynamic environment that responds to the player's actions in a coherent, even dramatic way.
The creative director of Irrational Games explains why he's personally directing the acting between the two game leads, Booker and Elizabeth, for his upcoming sequel, and what he's learned over the course of working with the actors and the game...
[Ken Levine discusses how theatre has influenced his approach to game storytelling and working with actors - a fabulously indepth article.]
Halo entered the sci-fi scene as a video game in 2001 with the release of Halo: Combat Evolved on the original Xbox. Being strictly a video game, no one expected it to spawn the dynamic, evolving universe that exists today.
Welcome to part 2 of my weekly series examining different methods of storytelling in video games. Last week I talked about one of the more prominent styles of storytelling, the silent protagonist.
[Part 1 can be found @scoopit http://bit.ly/rtzqeF]
Having just endured the train wreck that was Far Cry 3's narrative arc, now's the perfect time to look at this guide by GameFront on how to write a story for a video game.
Links to a very fun and somewhat (LOL) insightful infographic.
Writing for video games brings its own challenges.
Anthony Mole: "Some critics argue that video game narratives are poor, in comparison to books and movies; however, maybe video games simply offer a different kind of story experience?"
Tadhg Kelly: "Game writing struggles with the contradictions of storytelling because the approach is wrong. The right approach is storysensing, not storytelling."
Laura Parker: "Should more mainstream games push thematic boundaries and explore the murky depths of human nature?"
"The topic is, of course, storytelling. How does a writer create a complex narrative for a big budget video game? How does one drive the creative process of a large, intricate game development team?"
"The Dishonest Narrative Event is any time the video game’s reigns are ripped from the player’s hands in order to serve a specific plot’s agenda. In some cases, it is simply irritating or otherwise forgivable. Other times, it is the exact reason why a game’s narrative falls apart due to its own self-obsession."
DRC: This article examines the clash between cut-scenes and player driven storytelling. It includes some great examples of what does & doesn't constitute a "dishonest narrative event".
"Always play when possible, and only show when absolutely necessary."
Simon Pulman: "As gaming technology becomes more sophisticated, and as the industry matures, gaming faces a number of key questions. One of these pertains to what the role of story is within video games"...
A great analysis by Simon Pulman with additional comments from Jeff Gomez.
[Following on from his article @scoopit http://bit.ly/yu1Ob4 Lucas J. W. Johnson discusses "interactive" versus "authorial" story structure in game design. He also suggests that transmedia may provide the best of both "storytelling" worlds.
Note: it's interesting to compare Lucas' post with that of Tadhg Kelly @scoopit http://bit.ly/zBOEaB]
The problem here is, every line that’s spoken in the games by any one character has to be pre-recorded. That has an impact on the possible solutions and quests given.
We wanted to create the most cinematic and seamless action shooter that we possibly could, something that offered satisfying and precise gunplay alongside the kind of powerful storytelling that the series is so famous for...
Naughty Dog hopes The Last of Us is the storytelling renaissance this industry needs.
The game industry is riddled with the unsung heroes of interactive storytelling. As game developers are increasingly looking to create meaningful virtual narrative experiences, listening to the real-world wisdom of these writers can help everyone on the development pipeline understand…