Narrative and Videogames-The Developer's Tale
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BioWare: lessons of Mass Effect 3 ending backlash "will be built into our future games"

BioWare: lessons of Mass Effect 3 ending backlash "will be built into our future games" | Narrative and Videogames-The Developer's Tale | Scoop.it
"We underestimated how attached people would become to the characters," says Casey Hudson
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Everman says the experience has underlined what's at stake when you're working with an interactive medium. "It shows how invested a player is in the story, and how much they care about the outcomes. I've learned that a bitter-sweet ending is much easier to watch in a movie, than experience in a long RPG where the player is very invested in the protagonist."

 
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Killzone 2 screenwriter interview: cutscenes and the mature dynamic narrative

Killzone 2 screenwriter interview: cutscenes and the mature dynamic narrative | Narrative and Videogames-The Developer's Tale | Scoop.it

Killzone 2 screenwriter Iain Howe debates the difficulties of narrative exposition during gameplay and the failures of cutscenes in video games.

 
Domini Gee's insight:

"Iain: Telling story during gameplay is a dark art, I'm afraid. You can never predict that the player won't be off firing into the prone bodies of dead enemies, or worried more about shifting his inventory around, or exploring behind a pillar at the opposite end of the room or trying to find an exploit that allows him to reach an unreachable ledge.

Actually securing the player's attention and having him looking in the right direction at the right time is a matter of random chance. A truly interactive storyline is a verydifficult thing, and quite wasteful of resources, as it requires you to provide assets and scripts and support for a myriad of outcomes - only one of which the player is likely to experience. Most games with a storyline need cutscenes to anchor the game's story and ensure that certain events and conversations occur outside the control of the player."

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On Blending Gameplay And Story Together In The Last Of Us | Siliconera

"We want to make sure that we create a wide enough world that you can explore and find things that help you survive. With that being said, we’re not trying to make an open-world game.
Domini Gee's insight:

"With that being said, we’re not trying to make an open-world game. We still want to get you to certain points where we want to tell the story. Story moments. So, you’re going to have a choice, but not in the narrative. We want to make sure that we tell the story we want to tell between these two, but want to give you just enough choice so the player feels comfortable moving around and exploring.

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On Fan Rage

On Fan Rage | Narrative and Videogames-The Developer's Tale | Scoop.it
Do you believe it is worth the ‘fan rage’ to have a companion betray the player for narrative purposes? Have you considered it in the past, and (if possible) what did you decide? — cimeas




Ah, fan rage.
Domini Gee's insight:

David Gaider blog post regarding fan rage and narrative. 

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Tomb Raider Interview: Balancing Story And Gameplay | Siliconera

Tomb Raider Interview: Balancing Story And Gameplay | Siliconera | Narrative and Videogames-The Developer's Tale | Scoop.it
Crystal Dynamics' creative director, Noah Hughes, shares how the new Tomb Raider balances story and gameplay, and how the studio designed around both.
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Ken Levine on the Storytelling Craft of BioShock Infinite

Ken Levine on the Storytelling Craft of  BioShock Infinite | Narrative and Videogames-The Developer's Tale | Scoop.it
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...
Domini Gee's insight:

Gamasutra interview with Kevin Levine regarding the development of storytelling in "Bioshock Infinite".

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Hyperdimension Neptunia Victory Interview On The 1980's And Godly Games | Siliconera

Hyperdimension Neptunia Victory Interview On The 1980's And Godly Games | Siliconera | Narrative and Videogames-The Developer's Tale | Scoop.it

"Neptune is whisked away to a world that looks like the Gamindustri of the 1980′s and a new CPU called Plutia controls the "other" Planeptune. We talked with Neptunia series producer Naoko Mizuno about the changes in Hyperdimension Neptunia Victory and the future of the series."

Domini Gee's insight:

Interview with Neptunia's produces, Naoko Mizuno, about the Neptunia series and details about their upcoming games, Hyperdimension Neptunia Victory.

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How Zero Escape Games Are Developed, Through The Eyes Of The Director | Siliconera

How Zero Escape Games Are Developed, Through The Eyes Of The Director | Siliconera | Narrative and Videogames-The Developer's Tale | Scoop.it
Director, Kotaro Uchikoshi, gives us a brief overview of the Zero Escape: Virtue's Last Reward development process.
Domini Gee's insight:

Siliconera interview with Kotaro Uchikoshi, creator of the Zero Escape series. A brief overview on the design process he goes through for the games.

 

"・Come up with a plot→They say no→Rewrite the plot→They say no again→You re-write the plot  yet again→get the OK!→Write the main scenario →Contemplate what you’ve done→Suffer from writer’s block→You want to die→Drink some alcohol→You get over your slump→OK!"

 

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Jason Rohrer Reveals The Castle Doctrine, Part 1 | Rock, Paper, Shotgun

Jason Rohrer Reveals The Castle Doctrine, Part 1 | Rock, Paper, Shotgun | Narrative and Videogames-The Developer's Tale | Scoop.it
Indie dev Jason Rohrer, creator of Passage, Sleep Is Death, Inside A Star-Filled Sky, The Diamond Trust of London and Chainworld is a divisive game (#Gaming - Jason Rohrer Reveals The Castle Doctrine, Part 1 http://t.co/5pggDjSn)...
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On Romances in Games

“ A friend of mine and I had a discussion regarding romances in Dragon Age. He said he had a problem with the fact that not all of the companions were romanceable, stating that there should be...
Domini Gee's insight:

A blog post by Bioware David Gaider on the romance element in Bioware games. 

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Ragnar Tørnquist On… Storytelling | Rock, Paper, Shotgun

Ragnar Tørnquist On… Storytelling | Rock, Paper, Shotgun | Narrative and Videogames-The Developer's Tale | Scoop.it
A few months back, before the release of Age Of Conan, I took a trip to Funcom to finally meet The Longest Journey creator, Ragnar Tørnquist. Having keenly
Domini Gee's insight:

We tell stories because we consider ourselves as stories. If stories are so important, why do you think they are so devalued or underused in games?

Ragnar: Well, it depends what you mean by devalued. Most developers now talk about having a strong storyline. It seems to be one of the first things that people talk about in most genres. Even when they talk about Halo, they talk about the strong story. It’s used in marketing now. So I think everybody realises the value of it, and players’ hunger for the story, and also there’s an incentive with tie-in media: movies, TV, comics and novels. You see more of that emerging from games. Not just adaptations, but also tools to get people into the universe before the game. But I think the games industry does struggle with how to do it. And that’s a challenge we have too. I’ve been working with stories in games for fourteen years now, so I consider myself reasonably well versed in how it’s supposed to function. I understand the mechanics. And it’s still hard. On one level you need to preserve the mechanic of the gameplay. So let’s say you have a quest. Someone has to design that quest – where do you start? With the story or with the mechanics of the quest? You are going to have to come to a compromise unless you have someone who’s really good at both. And there’s very few of those kinds of people. On The Secret World team there are three of those people – but those people are just rare. Even if you know these elements, they’re still very difficult to balance.

RPS: So what goes wrong?

Ragnar: I think a lot of publishers and developers lack the understanding of what makes a good story, and they really should know better. I’m really looking forward to playing Assassin’s Creed, and it has a heavy focus on story, but I’ve seen the opening story, and the way it was presented felt very awkward. If they had gone to somebody who is a TV writer or director, or somebody working in movies, and they could have done that a lot better. And why not do it for the game that cost $25 or $30 million? It doesn’t make sense to me. It’s really cheap to do that. Especially when it comes to presenting something in a linear fashion. It’s harder with quests. But it’s really easy when it comes to present the world, present the characters, get good voice actors, get good dialogue. There’s no excuse for those things. There are a lot of people who can write good dialogue, or tell you how a story should be constructed, how characters should act. And directing and picking voice actors – it’s fascinating how many games just have bad, bad voice acting. In my games I’ve gone and done it myself. There are many people out there who can do a good job at that – there’s a lot of talent out there. Not in the games industry necessarily, but people that the games industry can talk to and learn from.

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After the Fact: Sleeping Dogs Producer Talks Narrative, Testing, and the Development Process

After the Fact: Sleeping Dogs Producer Talks Narrative, Testing, and the Development Process | Narrative and Videogames-The Developer's Tale | Scoop.it
Below is an interview with Dan Sochan, a producer on Sleeping Dogs 1. How did the publisher issues affect the development cycle and morale of the team?
Domini Gee's insight:

"We have a few members of the team from Hong Kong and we also did several research trips to take tens of thousands of photos and hours of video footage.  We tried to capture the essence and culture of Hong Kong – a unique mix of eastern and western influences.

 

In addition, we hired a couple of writers who were born and raised in Hong Kong, to review all of the dialog and signage in our game to make sure it was translated properly and was authentic."

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Inside the Gaming Studio: Halo 4′s Narrative Director Armando Troisi

Inside the Gaming Studio: Halo 4′s Narrative Director Armando Troisi | Narrative and Videogames-The Developer's Tale | Scoop.it

"

In this new series called Inside the Gaming Studio, I hope to interview some of the most accomplished gamemakers and explore how they get to the finished product. Trying to understand the process and theory of their work will hopefully create a database that some may find useful, stimulating or at the very least, interesting."

Domini Gee's insight:

Interview with Armando Troisi about narrative development in Halo 4.

"This approach is different than what many in the industry do. Many designers believe writing the entire story out in detail like a movie script is the best course of action when writing a game story, but that has not been my experience at all. Game design is a fluid and evolving art form where the most valuable commodity is our ability to react and change to design changes that will eventually occur. As levels, art and mechanics begins to solidify the story follows along. Answer the right story questions in the right order is a key pillar in successful interactive story production." -Troisi.

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Developer Diary 019: Narrative Journeys « Lunar Giant Studios

Developer Diary 019: Narrative Journeys « Lunar Giant Studios | Narrative and Videogames-The Developer's Tale | Scoop.it
The Lunar Giant Studios blog has the latest news about upcoming games as well as posts from developers about the process of building games.
Domini Gee's insight:

"Narratives in games are often seen as developer speedbumps or Don Quixote windmills that distract from the “important stuff,” like the “mechanics” and “buttons” and “pew pew.” Right there I’m going to fly my colors and say that story is as much a mechanic as jumping is, or shooting, or anything. And furthermore, most of the problems with stories in games amount to the person writing the story being very bad at it."

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Video Interview - Storytelling in Games

Alexandre Amancio shares his thoughts on storytelling, gameplay, and how Revelations will set the stage for Assassin's Creed III. Assassin's Creed Revelation...
Domini Gee's insight:

"I think narrative and gameplay will become more of a unified force [...] instead of gameplay-cinematic-gameplay-cinematic." -Alexandre Amancio

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Journey’s End: Dreamfall Chapters Interview Part 2 | Rock, Paper, Shotgun

Journey’s End: Dreamfall Chapters Interview Part 2 | Rock, Paper, Shotgun | Narrative and Videogames-The Developer's Tale | Scoop.it
The first part was the starter. This is the main course. The conversation continues, as Ragnar Tørnquist, Martin Bruusgaard and Dag Scheve go into detail
Domini Gee's insight:

The second half of an interviw with the creators of Dreamfall Chapters (sequel to The Longest Journey and Dreamfall: the Longest Journey). This part of the interview dives more into the characters, the narrative, and the team`s process.

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Gamasutra - Features - The Second Longest Journey: Interview with Ragnar Tornquist

Gamasutra - Features - The Second Longest Journey: Interview with Ragnar Tornquist | Narrative and Videogames-The Developer's Tale | Scoop.it
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Interview with Ragnar Tornquist, designer of The Longest Journey, Dreamfall, and upcoming Dreamfall: Chapters.

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AusGamers Dead Space 3 Developer Interview with Steve Papoutsis

AusGamers Dead Space 3 Developer Interview with Steve Papoutsis | Narrative and Videogames-The Developer's Tale | Scoop.it
Not only did AusGamers have a chance to play the latest single-player and co-op build of Dead Space 3, but we also managed to corner executive producer, Steve Papoutsis for an interview. Watch, or read on for what he had to say...
Domini Gee's insight:

Developer interview with Steve Papoutis regarding the development of Dead Space 3.

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On Novels vs. Games

“ Hi. I’m wondering about something. I am currently taking a class on creative writing when the subject of writing novels versus other plot driven styles of writing that are not in book form. Works...
Domini Gee's insight:

A blog post by Bioware writer David Gaider on writing for novels versus writing for games.

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Gamasutra - Features - The Storytelling Secrets of Virtue's Last Reward

Gamasutra - Features - The Storytelling Secrets of Virtue's Last Reward | Narrative and Videogames-The Developer's Tale | Scoop.it
Domini Gee's insight:

An article featuring Virtue's Last Reward's creator and writer, Kotaro Uchikoshi.

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