narrative
Latest
Twitch slays Pokemon after two weeks of non-stop action [Update: New game on Sunday]
The livestreamed crowd-play event Twitch Plays Pokemon has ended, as thousands of players pooled their efforts to defeat the Elite Four in Pokemon Red. The game was completed after 16 days of consecutive play and saw over 35 million viewers during that time. Twitch Plays Pokemon is a Pokemon Red mod that allowed Twitch viewers to control the game's main character Red by entering commands in the streaming platform's chat window. The event began on February 12 and reached 75,000 concurrent viewers after five days of play. There were plenty of doubts that players would even be able to cross the Safari Zone in the game, let alone view its ending credits, though the game's creator told Joystiq that "even when played very poorly it is difficult to not make some progress in Pokemon." The community that gathered around Twitch Plays Pokemon upheld a narrative that extended beyond Pokemon Red's initial scope and included the Twitter-trending Bird Jesus (Pidgeot) and the spiritual consultant and deity Lord Helix (Omanyte). Joystiq also talked with MIT associate professor T.L. Taylor about the event's place in network and game culture, who said it tapped into "something I think is very compelling. So I don't think we're going to see [crowd-play] go away as a genre." Considering how entertaining this has been, we certainly hope not. Update: As it turns out, the Twitch Plays Pokemon stream now features a countdown timer ticking away roughly 26 hours and 25 minutes as of this writing that notes, "A new adventure will begin." That pegs the start of what seems to be the next version of Twitch Plays Pokemon at 7:00 a.m. EST Sunday morning. [Image: The Pokemon Company]
Live from the Engadget Stage: Narrative CEO Martin Kallstrom
Here's another interesting take on the push toward wearable technologies. The Narrative Clip (formerly Memoto) lives on your lapel, taking pictures at intervals throughout the day for a little lifelogging action. The company's CEO will join us on stage to discuss the device. January 10, 2014 6:00:00 PM EST
2014 Writers Guild Awards video game nominees announced
The Writers Guild of America announced the nominees for the 2014 Writers Guild Awards Outstanding Achievement in Videogame Writing today. The writing teams for five games were nominated for the annual award, as follows: Assassin's Creed 4: Black Flag Batman: Arkham Origins God of War: Ascension The Last of Us Lost Planet 3 Only games that launched between December 1, 2012 and November 30, 2013 were eligible for nomination. The 2014 Writers Guild Awards will be held on Saturday, February 1, 2014 in both Los Angeles and New York simultaneously. Past winners of the Outstanding Achievement in Videogame Writing award were the writers of the following games, who were also part of the guild in order to be considered: Assassin's Creed 3: Liberation (2013), Uncharted 3: Drake's Deception (2012), Assassin's Creed: Brotherhood (2011), Uncharted 2: Among Thieves (2010) and Star Wars: The Force Unleashed (2009).
Live from Expand: All Dressed Up: the State of Wearable Technology
Thanks to products like the Pebble Smart Watch and Google Glass, wearables are all the rage this year. We've pulled together a diverse group of companies from different aspects of the space -- including Adafruit, Narrative and Misfit -- to discuss where wearables are and where they're going. November 9, 2013 2:40:00 PM EST Follow all of Engadget's Expand coverage live from New York City right here!
Narrative Clip now the new name for Memoto wearable lifetracking camera
About a year ago, TUAW highlighted a Kickstarter project aimed at making a tiny wearable camera that would take photos about once every 30 seconds for upload to a website where they'd be condensed into a continuous lifelog. The project was delayed, but now the Swedish developers behind the project report that they've received new funding, that they've changed the name of the device and their company and that first deliveries will take place on November 1, 2013. The company's new name is Narrative, with the former Memoto camera now being called the Narrative Clip. According to Narrative VP of Marketing Oskar Kalmaru, "We've quickly grown to love the new name, Narrative, and it is one that describes what we've been trying to do all along –- help users tell the stories of their lives. We called the camera 'Narrative Clip' to reflect its attributes of being wearable, quick and tiny." The Narrative Clip is available for pre-order on the Narrative website for $279. As noted in our 2012 post: The Memoto camera measures 36 x 36 x 9 mm, captures 5-megapixel images, keeps a log of GPS positions and timestamps and has an accelerometer to ensure that photos are always oriented correctly. There's a micro-USB port for charging the device's battery, which is expected to last for two days per charge. Once the images are uploaded, software works to "organize the photos to work as a photographic memory that can be accessed at any time, even after many years, without the user ever feeling overwhelmed or disorganized." The images are catalogued by time, date, place and lighting conditions.
The Soapbox: What's my motivation?
If you play MMOs, odds are good that you're familiar with the classic "kill ten rats" quest trope. Kill quests are one of the most fundamental elements of traditional MMORPG design, and a great deal of modern and classic MMOs would have little to no content without them. Whether it's ten rats, ten wolves, ten bandits, or ten dragons, the basic gist of the quest is always the same: You, the seasoned adventurer, must eliminate animals or enemies for an NPC who for one reason or another cannot handle the task himself. MMOs are built on combat. It's difficult to design a full-featured MMO that engages players for years on end without some sort of PvE killing content; only a handful of MMOs have even attempted it. And while some would say the days of the kill quest are coming to an end, modern MMOs certainly aren't cutting back on killing in general. As a primary mechanic for advancing a character, slaying seems to be the most popular design choice. I don't have a problem with the bulk of my progression coming from throwing fireballs or bashing shields. I don't mind obliterating monsters in multiples of five. What I do mind, however, is being asked to kill without a good reason.
The Mog Log: Final Fantasy XIV breaks the narrative rules (and still works)
Monday was the end of the line for me in Final Fantasy XIV, if you consider clearing the last story-based instance in the game the end. (I don't.) The final rush of dungeons ends with at least five different grudge matches that had been built up over the course of the game, villains who were put in their place, and all of the plot revelations you could ask for. None of which I really want to talk about in detail here, because there are a lot of people who have not yet cleared the story. What I can talk about is how the game presents its story, which is straight out of the huge book of mistakes that games are advised not to make. It sends you all over the map, back and forth for fetch quests and to convey simple messages. It gleefully mixes in forced group content along with forced solo content, meaning that you can't even rush the whole thing with a good group. The story only changes in the initial levels based on what nation you start with; beyond that it's the same every time through. And yet it works wonderfully.
Storyboard: Operatic soap
If you've never watched a soap opera before, you owe it to yourself to do so at some point. I don't just mean a single episode; I mean spending a month or so really following a show, unraveling the plot and character interrelationships, and trying to really get what's going on. Let me tell you, these things are crazy. Silver age comics crazy. And they're dying out, so you want to catch them before they're gone. Despite that, I generally use soap opera as a pejorative term because while the shows might be entertaining, they're not good at character development or drama or nuance or most of what makes RP enjoyable most of the time. They're well-written only insofar as they're written to convince you to watch the next episode, not in the sense that they form any sort of overarching narrative. And while RP can creep into that territory at times, that's generally a problem rather than an acceptable endpoint.
The '101 Gameplay Ideas' behind the Assassin's Creed franchise
During a panel at GDC today, Ubisoft writer Corey May and lead mission designer Philippe Bergeron discussed their "balancing act" in crafting the stories of Assassin's Creed. May is focused on building up the story, making the characters and their relationships important to the player, while Bergeron and his colleagues aim to deliver fun mission gameplay, and stay within the various technical and developmental limitations shared by the entire team.May and Bergeron both focus on research at the outset of the process. For each Assassin's Creed game, the team has picked an era first, and then looked for potential locations, specific events to portray, major characters, "potential Templar targets," and possible protagonists. While May picks characters, Bergeron's team brainstorms various mission ideas for the game.May said Ubisoft has an internal document containing "101 gameplay ideas." It has been pillaged and refilled since the first Assassin's Creed game, as designers sample previously unused ideas or add more when concepts don't make the cut during development of the latest game.Finally, May said, once all the mission plans are completed and his early script scenes are done, he takes the mission design documents and pastes them directly into a file that eventually becomes his finished script for the game. May said this process was "the ultimate expression of our collaboration," and that mission designs created by Bergeron's team are then used as "the skeleton and the backbone that I work off of."Once the script and designs are all completed, the real work of coding and testing the game begins. May and Bergeron's teams cycle down (or, most likely, move on to the next game in the process).The talk was a simple look at an undoubtedly complex process, but it did offer some good insight into the marriage of story and mission design in the Assassin's Creed franchise.
Massively Exclusive: A closer look at WildStar's Cassians
WildStar doesn't shy away from giving its races plenty of personality. The introduction to the Dominion as a whole is given by character Malvolio Portius, and just a few moments of dialogue makes it very clear what sort of person he is. The latest entry on the original site features a mock-interview with the character that at once sheds more light on the character and provides more handy reference points about how Cassian humans think of themselves. Of course, there's more going on behind the scenes, and Malvolio's perspective on things is rather one-sided. (Not to mention smarmy.) To get a little more detail on the Cassian humans from a more neutral perspective, we had a chance to ask lead narrative designer Chad Moore a few questions about the Cassians and the Dominion as a whole. You'll have to wait a little while to learn more about the Draken and the Mechari, but the Cassians alone certainly feature elements that Malvolio won't discuss.
Chaos Theory: The Secret World's bright (player-driven?) future
Apologies for not following through with part three of my crafting guide this week. I fully intended to do so, but a couple of interesting things happened over the past few days that merit some discussion. First off, Ragnar Tornquist published what can only be called a defiant state of the game letter. The Secret World's creative director engaged in some rabble-rousing penmanship that managed to inspire a metaphorical fist-pump from yours truly, even though I've been covering games long enough to cast a cynical eye toward similar rally-the-troops developer rhetoric. Tornquist admitted that TSW's competition is stiff, in particular new releases like Guild Wars 2 and Mists of Pandaria, but he didn't shy away from singing his game's praises. More importantly, he reiterated what early adopters have known for a while now: The Secret World is that increasingly rare MMO horse of a different color, and despite financial and personnel losses, Funcom knows it has a winner on its hands and is fighting to keep it.
Guild Wars 2 writers talk (at length) about MMO story
What's it like to pen the narrative for one of the most anticipated MMORPGs, well, ever? It's quite different from writing a novel or a screenplay, according to ArenaNet's Angel McCoy. She joins Guild Wars 2 lead writer Bobby Stein and Peter "The Explorer" Fries for an MMO story-flavored sit-down with fan site Under the Pale Tree. The interview is a lengthy one (who knew that writers could be so wordy?), and it covers a bunch of ground including the megalithic sprawl of GW2's narrative, the challenges inherent in writing particular races, and the differences between in-game dialogue and cutscene exposition. There's more to it, of course, but honestly the thing is so huge that we're going to go finish reading it after we've jotted down this here news post.
Rumor: Harmonix prepping 'unique motion-gaming IP' ... with storylines
We thought Harmonix had its hands full with Rock Band Blitz, but the Cambridge-based developer may also be preparing a new IP – and for the next generation of consoles. According to several different job listings, the developer is looking for narrative, content and level designers, and one software engineer to help out with "a unique motion-gaming IP.""Harmonix seeks an accomplished Narrative Designer to incorporate creative story lines into gameplay on a unique motion-gaming IP," reads just one of the positions discovered by Supererogatory. This particular gig is a 12-month contract position, while the others make mention of a "music-based motion-gaming IP" and seem to be for more established positions.A narrative-driven, rhythm-based motion game? Sounds a lot like one of our favorite games ever. [Wait, surely you meant this? - Ed.]
Spec Ops: The Line narrative trailer ripped from the headlines
In fairness, the trailer above for Spec Ops: The Line was likely cut and produced over the course of a few months. As such, its "ripped from current headlines" nature isn't really 2K Games or Yager's fault, but it does make for an awkward juxtaposition against recent news.
Guild Wars 2 and the evolving narrative of a personal story
Guild Wars 2 has promised players a personal narrative from very early in development, but with all of the beta testing and class previews, it's a feature that hasn't seen as much description. So as the game draws ever closer to release, it's a good thing that the most recent development blog is all about the development of a player's personal narrative over the course of gameplay. According to the blog, the choices players make start during character creation and continue from there, resulting in 30 potential story paths just through the starter region alone. Of course, branches alone aren't worth much of anything if they don't lead to some interesting gameplay in the process. The design blog discusses how this works in the Asura starting area, whose designers began with a design document stating that the player needed to investigate two genius golemancers to determine which one was culpable in a crisis. Rather than forcing the player to simply run to two separate locations and have a chat, the staff realized that the two geniuses would be more likely to be interacting at an event -- say, a competition of golems. The refinement goes on from there, with each step refining the narrative and investing the players further to make something more memorable than a simple questioning session.
Storyboard: Not in control
One of the weird parts of roleplaying, at least for me, is the fact that I'm not really in control at all. I don't mean in the narrative sense, although that's also true. I'm talking about the simple fact that my characters have minds of their own, and that's half of the entertainment value. I see something happening, I know it's going to be bad, and I find myself thinking that the best thing my character can do is keep his or her mouth shut. And then I'm hammering away at the keyboard because even though I think otherwise, he or she has a very different opinion. Writers are familiar with the idea, of course. Characters wind up talking to you, even when you don't mean for it to happen. But it happens with roleplaying just as surely, and you wind up with a character driving in a totally different direction than you had planned, with your main-line character sitting on the side while some C-list concept takes center stage. And the funny part is that it all feels right, all the way through.
ArenaNet closes the book on Guild Wars' Winds of Change
If you missed the Winds of Change arc that's bridging the gap between Guild Wars and Guild Wars 2, now's a great time to head to the official ArenaNet blog to catch up. The devs have provided a handy summary post and a bit of an explanation for their narrative goals as both Guild Wars and its highly anticipated sequel move forward. ArenaNet also acknowledges the community feedback regarding the difficulty of the Winds of Change content, and the firm says that initially "the difficulty was getting in the way of people enjoying the story, making it far more of a slog than we'd intended and actively undermining their enjoyment of it." Happily, recent updates have led to "major balance tweaks" and second looks at both normal and hard-mode content, so if you were frustrated before, it's worth your time to give it another go.
WildStar Wednesday talks about the game's narrative design
Unless you were at PAX Prime last year, about all you've seen of WildStar in action has been the game's cinematic trailer. While it didn't give much of an idea of how the game played, said video certainly had a lot of style. According to the latest WildStar Wednesday community blog post, that style was a big part of the game's narrative design, which is seen as one of the main points of development -- making a game that feels large, engrossing, and epic. As lead designer Chad Moore explains it, the narrative design team is responsible for outlining the world of Nexus, which was in part created to serve as a perfect locus for a variety of different adventures. While this design team isn't particularly concerned with mechanics, it is concerned with ensuring that every part of the game has the same degree of personality as the first cinematic trailer. If you're one of the many people anticipating the game heavily, take a look behind the scenes to see how it produces its feel.
Hey Japan, stop making me save the world
This is a column by Jason Schreier dedicated to the analysis (and occasional mocking) of his favorite genre, the Japanese role-playing game. Whether it's because they're too antiquated or just too niche, he believes JRPGs don't get enough attention in the gaming industry today. It's time to change that. You've seen this play before. Some ragtag heroes are standing at the edge of some interdimensional space portal or subterranean crystal labyrinth or evil god's castle. They're holding powerful weapons -- acquired after hours of tedious mini-games -- and staring down some nasty monster or deity or demon squirrel. Their goal? Save the universe from imminent doom. If you're anything like me, you're probably already yawning. The go-forth-and-save-the-world trope is so worn out in video games by now that it's hard to muster up even an iota of compassion for all of the artificial people that need rescuing. Japanese role-playing games are the worst offenders of all, spitting out bombastic villains and supernatural events with reckless abandon and little regard for reality. Games like Tales of Vesperia and Lost Odyssey might start you off with small tasks and adventures, but at the end of the day, you know you're going to have to prevent the apocalypse.
Unleash your imagination in an organized way with Nevigo's game-narrative tool
Crafting a complex, logical and engaging story is difficult enough on a linear level, but building an entire world of diverging options, storylines, conversations and endings in a video game is an especially trying process. As artists ourselves, we sympathize with the plight of video-game writers and encourage them to find a process that works with their individual creativity, such as articy:draft, the "first" professional narrative-design program from Nevigo. The above video demonstrates how articy:draft's use of "flow fragments" and a visual writing template can help eliminate plot holes, logical flaws and dead ends in convoluted stories. "Game writers can now craft non-linear plots easily," Nevigo CEO Kai Rosenkranz (Heads!) said. "The era of post-its on walls is finally over." Whoa -- we were with you until the sticky note thing, buddy. We happen to like our walls covered in incomprehensible post-it notes; it adds a sense of psychotic drama to the office and makes us look like we're doing important, semi-permanent things in vague, scribbled descriptions, such as, "take the left fork and the right spoon," "CAROLINE" and "Yes, but we need it in Hunter Green." Call us purists, but we'll keep our sticky notes, thanks. Now if only we could find the minutes from that meeting on the importance of organization, we'll be set.
