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Guild Wars 2's Leah Hoyer discusses the importance of story
It's fair to say that Guild Wars 2 sells its story pretty highly, as living world progress and story updates are a major part of its content strategy. Head of narrative Leah Hoyer stated in a recent interview that this is one of the core things that games as a whole need to embrace: Story is important in getting players invested. Hoyer went on to say that while story lacks the central importance in games that it has in media like television, it's still an important element of player investment. Still, she argues, it's harder to tell a good story in a game than it is in a television show, simply because the latter is focused only on story while the former cannot be. This doesn't mean that it's less important, nor does Hoyer feel that it justifies using lore and background as an excuse for not telling a story; a good story requires immediacy. While she believes that lore is highly important, it should help support storytelling rather than replace it. There's a lot of interesting thoughts in the full interview, so whether you like Guild Wars 2's take on story or not, it's well worth a look.
Issue 9 of The Secret World is live
Tokyo has been squatting like a gargoyle on the horizon of The Secret World since its launch nearly two years ago. Now, it's time for players to get into it. Issue 9 has just gone live, bringing with it the addition of the Tokyo playfield along with new missions, new monsters, and new revelations for the overarching story. But really, would you expect any less from the source of the Filth infestation? Players will explore Tokyo starting at the same subway junction that set off the game's story, moving from there into the city proper. Once in the city, they'll be dealing with Orochi, Filth zombies, an oni infestation, and plenty of ghosts clustering about. If you want to know a little more about the content before you jump in, you can check out our tour of Tokyo from yesterday.
The Daily Grind: Should games periodically update their tutorials?
As I began playing Star Trek Online for the first time in years, it occurred to me that the tutorial quests were still very familiar. This is not entirely surprising; outside of a handful of extra help windows, they're the same basic tutorial quests that existed in the game back when it launched. On the one hand, this is perfectly reasonable. Updating a bunch of tutorial quests that are there just to ease you into the feel of a new game would just be fixing something that's not broken. At the same time, when the game presents its tutorial as part of a story, it's odd when the tutorial no longer reflects the overall setting of the game. And if you've played the tutorial before, it's a bit disheartening to do so a second (or third or fourth...) time. So what do you think? Should games periodically update their tutorials? Or should a tutorial be upgraded only to be more straightforward rather than changing with the times? Every morning, the Massively bloggers probe the minds of their readers with deep, thought-provoking questions about that most serious of topics: massively online gaming. We crave your opinions, so grab your caffeinated beverage of choice and chime in on today's Daily Grind!
New Marvel Heroes trailer is all about cleaning up the kitchen
Yes, you read that title correctly. Marvel Heroes has put out a trailer that's all about cleaning up the kitchen. Specifically, cleaning up Hell's Kitchen, one of the cheapest areas of Manhattan and a hotbed of organized crime and ethnic tensions. (In the Marvel universe, anyway. In the real world it's pretty high-rent now.) Fans of Marvel can probably guess at the major players in the trailer just by knowing the area. Even if you're not familiar with the comics, however, the trailer makes it clear that the area is crawling with crime under the direction of the infamous Kingpin, with both relatively normal thugs with guns and superpowered threats like Electra and Bullseye. Plenty of space for an enterprising hero to clean things up, in other words. Check out the full trailer just past the break. If that makes you curious for more information about how the game plays, you can jump back a little and read our hands-on impression. [Source: Gazillion Entertainment press release]
Lord of the Rings Online developer blog on shaping the newest story
The next part of Lord of the Rings Online's epic story is on the way, another installment with players following behind the Fellowship of the Ring and taking care of all sorts of important tasks on the periphery. That means it's time for players to head down south of Lothlorien toward the banks of the river Anduin. And according to the latest developer diary, if you're interested in the people of Rohan, you'll be happy to learn this installment is packed to the brim with all sorts of interesting moments and landscapes. Aside from laying out the basics of what players will be doing on the shores of the river, the entry also explains why this installment of the story is sending players via the river rather than the west when the last story put them on the wrong side of the Misty Mountains. The entry explains that it's all about the shape of the story -- sending players ahead to Rohan from the wrong side would lead to all sorts of unpleasantly early victories and make things a lot less interesting. It should be an enlightening look at the upcoming installment of the story, even if it won't ameliorate some grumbles at the amount of travel involved.
The Secret World shares details on sharing stories
While it's not the poster child for story in MMOs, The Secret World is putting a big emphasis on giving players an engaging and in-depth story to enjoy as they unravel conspiracies and search for the truth. A new developer diary by Ragnar Tornquist explains how the story is woven into every element of the game, from the simple introduction of quests right down to the mechanics of fighting enemies. Tornquist emphasizes that the entire setting of the game is in many ways based solely upon storytelling, on myths and urban legends and half-remembered stories of youth. One of the development goals for the game is to keep players digging, investigating the story and piecing it together. According to the diary, every mission opens with a fully voiced and motion-captured cinematic, and aside from the main story missions, players can tackle these challenges in any order, allowing for players to have unique stories as they make their way through the labyrinth of half-truths. It's an interesting look behind the curtain, and it should give players looking forward to The Secret World a few more ideas to be excited about.
GDC09: Rhianna Pratchett says games should forget about making people cry
Rhianna Pratchett, the woman to blame for the dialogue of last year's EA experiment Mirror's Edge, says that game writers (not, erm, us, mind you, but the type that write the stories in the games we all play) are doing the wrong thing trying to make gamers cry. She tells the Guardian's game blog, "As an industry we get very, very obsessed with making people cry. What's so great about crying?!" Rather, she says that they should be focusing on turning those frowns upside down, citing her work on the Overlord franchise. "The world is dark enough, especially at the moment. Overlord, I think, was successful because it made people smile, it made people laugh. That seems to have resonated so much that I say 'Make people smile, don't make people cry.'" It's no secret that we are suckers for the lolz around here, so we're rather inclined to agree with Ms. Pratchett. In the eight minute interview with the Guardian (found after the break), Pratchett also touches on the importance of getting game writers into the development process early enough, calling shoehorned stories in gaming the result of "Weekend at Bernie's" processes, where a plot that doesn't really exist is "made up" to look like an actual plot. Rather than naming culprits, we'll leave the finger pointing to you fine folks -- and we're willing to bet you can name more than a few, no?
Warren Spector tells us some game stories
Three years ago, Deus Ex creator Warren Spector spoke about the sad state of narrative in the then-current crop of games and challenged the industry to makes some changes. Three years later, Spector today told a packed GDC auditorium that they had made some progress, but there was still a lot of work to be done.Spector broke game narratives down into a few basic forms. There's: The rollercoaster: An exciting story that gives the illusion of a lot of exciting twists and turns, but inevitably ends up going in more or less a straight line. Spector said the influence of this type of game story is weakening, but it will never go away completely. The "Will Wright": Like archetypal games SimCity and The Sims, these games build stories with the player's input rather than overpowering them with a narrative decreed from above. These games are built on the idea that players can share better stories with each other than the ones told to them by developers. Procedurally generated stories – Games like Facade that can alter the story on the fly without following pre-defined paths. These games offer a "terrifying amount of freedom," and provide a great way to "explore the innerspace of personal relationships as much as the outerspace of the game world," as Spector put it. While game stories have made progress on issues like structure and character graphics, Spector said stiff character interaction and animation remained the biggest obstacle to creating engaging stories in games. He also chastised the industry for not offering enough ways to interact with a game story without killing things. "I want the opportunity to play a game and not play the part of Vin Diesel," he said. Spector also encouraged developers to build fully explorable worlds, not simple, flimsy movie sets that are "just an excuse to shoot stuff."Fixing these problems is going to take some major time and effort, Spector said, as well as a willingness by developers to fund something other than better graphics. It also take a fundamental change of perspective for many game writers. "Get over yourself," Spector told the audience. "Your story isn't that interesting. Trust the players a little bit ... let them off rails. ... This is as much a design issue as a technology issue at this point."
