storytelling
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Challenges and triumphs in storytelling for Star Wars: The Old Republic
The official site for Star Wars: The Old Republic has been updated with a pair of blog posts all about writing and storytelling in BioWare worlds. One is a sort of mission statement; a reiteration of concepts and ideas we heard espoused by folks like Daniel Erickson and Rob Chestney in previously-released interviews. The statement specifically touches on the concept of your class tying you into the gameworld, something heavily hinted at back during the initial announcement and reported here on the site in our Old Republic Unveiled series. It's a dynamic statement, and a pretty heavy gauntlet to throw down for the genre.That mission statement is accompanied by a post from one of the other Senior Writers on the game, Alex Freed. Freed talks about the specific challenges facing the team as they work their way through content creation on the game, and the steps they've used to overcome those challenges. He walks through their toolkit on the project, the 'signposts' they use to make sure they're writing the right kind of stories, and calls out the thorny problem of making sure their content is 'Star Wars-y' enough. This last is an issue that's constantly plagued the other MMO title in the setting, and it's fascinating to hear him call it out so early in the process. Make sure to check out both pieces if you're at all interested in the writing process behind this ambitious title.%Gallery-35034% BioWare has finally unveiled Star Wars: The Old Republic, their new MMO! Massively's got you covered on all the details. Check out our comprehensive guide on everything we know so far about the game, or just peruse our screenshot/concept art galleries. Join us in the Galaxy far, far away!
SWTOR's lead writer describes BioWare's ambitious storytelling initiative
The biggest selling point of Star Wars: The Old Republic seems to be its focus on storytelling. Interactive stories have always been BioWare's particular claim to fame, so we're not surprised at the focus, but we will admit to being a little surprised at just how hardcore they are about it. In an interview with Gamasutra, BioWare Austin lead writer Daniel Erickson described the company's process for hiring and managing the writing staff, which includes more than a dozen people who went through a three-month training program, and who have now been working on the game for several years.What's interesting to us about the interview (most of it focuses on professional questions, not on gameplay -- check out the info from our own encounter with Erickson for more on that) is that unlike with other MMOs, the development process began with writing. The stories created by the writers are the foundation of the game design and experience to come -- at least according to Erickson.There's also a bit in there about the challenges of innovation in the MMO industry, and the need to make individual game features -- such as combat or story -- as solid as they are in single-player titles.
Begin to shape the very game world itself in Star Wars: The Old Republic?
These levees broke hard. The information pouring out of various game sites is fascinating, and we're watching keenly for the choice parts. For example, IGN's exhaustive coverage mentions that "your own actions can begin to have a lasting impact on the game world." Storytelling is clearly a critical aspect of the SWTOR approach, and we're intrigued to see how the fate of the world is entangled with that of the protagonists.Another point that caught our eye was the limitation on content: "there are places that you won't be able to go and things you won't be able to do unless you join a mixed party." Although you'll be able to bring along NPC companions (sounds rather like the way Guild Wars handles it) it's not clear whether this would allow devotedly solo players to access the group content. More news as it emerges.%Gallery-35033% Bioware has finally unveiled Star Wars: The Old Republic, their new MMO! Massively's got you covered on all the details -- from liveblogging the announcement to screenshot galleries and more. Join us in the Galaxy far, far away!
MMOGology: Why bother with story?
I recently went through a burn-out period on MMOGs. In addition to a job change and lots of personal commitments that limited my time, I'd simply grown bored with the genre. I think we all go through those periods. Times when we're just done with the grind and we need to recharge our gaming batteries on something different. This seems especially true once we've reached end-game and we're grinding the same old dungeons and flailing away in the same old PvP battles. It seemed like the only thing I had to look forward to was an eight year old telling me how bad I got pwned or watching yet another piece of gear drop that I couldn't use.My burnout period also coincided with the purchase of a brand new gaming rig. I think the last machine I purchased was back in 2004, and I finally decided to bite the bullet and buy a new rig. If you're like me (and I know I am), the first thing you do when you get a new gaming computer is test it on the most graphically advanced game you have available; that special game that brought your old machine to its knees. For me, that game was The Elder Scrolls IV: Oblivion. Although my old machine could run it with the settings on low, now I can finally play it at high resolution with all the bells and whistles turned on. I'm proud to say my new rig cuts through Oblivion like a hot knife through butter. I played Oblivion a lot when it originally came out, but because my old rig struggled with it, I never played more than about a quarter of the way through the game. I decided to start over from scratch and as I progressed I remembered why I love single player RPGs: the story. A great story provides a level of immersion that's only possible to achieve when playing alone. It was really refreshing. And it made me wonder, why do MMOGs even bother with the pretense of a story at all?
Balance Board becomes interactive storytelling tool
Okay, it's kind of hard to figure out exactly what the Inscape software is -- the website describes it as "a unique integrating collaborative tool supporting a wide range of devices and media formats to enable digital content creators to plan, build, experience and publish interactive multimedia stories." We think it's software that allows you to import content and build an interactive framework for presenting it. We're imagining a PowerPoint with more stuff to do in the presentations, basically. Which means that it could be used for anything from visual novels to self-guided presentations to games.Immersion, who is part of the consortium that works on InScape, has now added a Balance Board interface to the software, enabling whatever these interactive stories are to maintain a new level of, well, immersion. It's cool to see our little toy scale being used in what seems like a serious program. And it's especially cool to see any program "officially" supporting a Wii peripheral.
Check out a DC Universe Online interview, gameplay video
Mahalo spoke with DC Universe Online Executive Producer John Blakely at Comic Con this week and videotaped the conversation, along with a whole bunch of gameplay. The gameplay includes a player running around at lightning speed, scaling walls, picking up and throwing cars, and some gunplay. In the interview, Blakely said that to watch DCUO's MySpace page for updates about the release date and other news. Specific gameplay info was thin, but he did suggest that player skill will matter just as much as your character's abilities. They all say that, though, and unfortunately it's usually only half true. Mahalo also recorded video of a panel on which famous comic book writer Stan Lee glowingly talked about storytelling in video games. We've embedded both parts of that video beyond the jump.
Funcom endorses Age of Conan graphic fiction
GameZone is producing a series of original fiction set in Age of Conan's Hyboria, which deals with the world's characters and lore. The series is created by Michael Lafferty and is a blend of short fiction, comic art, and graphic panel storytelling using in-game screenshots. Lafferty has Funcom's blessing on this; an announcement at the official AoC community site leaves no doubt that they've given their express permission.Lafferty's fiction begins with 'In Service to a King' and continues with 'Deliverance from the Sea' and 'In the Shadow of the Volcano.' More stories are to follow. GameZone has one caveat about the series, though: "Some of these stories may contain spoilers for quests, so by Crom, be forewarned!" It's doubtful that spoiler quests will keep people from checking out the series, so have a look at Michael Lafferty's work and sound off if you like what he's doing.
Player vs. Everything: Online Games and Sex
As humans, sex is something that plays a very important role in our lives and personal experiences. It's a pretty universal and emotionally charged topic that can dramatically influence how we think of ourselves and how we view our relationships with other people. Even outside of the act itself, ideas about sex and human relationships shape the way we act, the way we dress, the way we live, and the people we associate with. Dealing with the complicated issues surrounding sex is part of the human condition. It's not at all surprising that sex is frequently portrayed in all forms of media which attempt to explore that human experience. However, are video games (and specifically online games) really ready to examine this topic? There was a really interesting lecture posted by the videogame news blog Rock, Paper, Shotgun a few days ago in which Daniel Floyd discussed the topic of sex in video games. His key point is that if video games are going to attempt to explore the topic of sex effectively, they need to portray it in a way that ties it to relationships and intimacy. Watching the video made me start thinking about how sex is portrayed in MMOGs, especially with the recent launch of Age of Conan, a game that sold itself as a "mature title" with strong violence and sexuality. After a lot of reflection on the topic, I really don't think that mainstream online games are ready to explore sexuality, nor are they even capable of portraying it tastefully with their current limitations.
The hidden emotional depths of Super Mario Galaxy
Cory Barlog may have sneered at what he deemed to be Super Mario Galaxy's "vapid story," but game researcher and designer Douglas Wilson couldn't feel more differently. Writing for GameSetWatch, Wilson argues that Galaxy is not only the first Mario title to produce an engaging story, but that it addresses human tragedy more expertly than most other games.To illustrate his point, Wilson draws on the story told by Princess Rosalina, whose life story is recounted throughout Galaxy. Although this narrative thread starts life as the kind of standard fare you'd expect from a Mario title, Rosalina's tale quickly becomes tragic, as she recalls how she realized her mother had passed away -- or, as she touchingly puts it, is "sleeping under the tree on the hill." Sad face.As Wilson points out, this surprisingly poignant turn of events creates a pretty weird dichotomy. After all, Galaxy is a game where you fight a giant piranha plant in a diaper.
Putting the story into MMOs
It's hard to be a hero sometimes. You wait in line behind a dozen other adventurers for your chance to hand in your twelve warg ears in return for some silver. You'd been sent to help clear the fields of wargs and even though there were several other heroic warg hunters slicing through the weeds for them, you eventually found yours. The old farmer was pleased, but he had a new job that only you -- and the hundreds of people like you -- could perform. There were more wargs out there! But this time, he would need their feet. As you headed back out into the night to continue warg genocide, you thought -- there has to be more than this. There has to be more to being a hero than hunting dogs and bears, then heading to a new town to look into their ant problem.What you're missing, is story. The game has been designed to make your story the same as every story. A long history of slaughtering trivial mobs, occasionally grouping with others to kill a greater monster who will be prowling the hills an hour after play ginsu with its spleen. In "It's Story Time, Boys and Girls!", Warhammer blogger Syp explores the different ways MMO developers try to add story to their games, some more successful than others. NPCs in City of Heroes will talk about your deeds and exploits as you pass. GM actors in EverQuest once presaged world-changing events with missions ordinary players could affect. Lord of the Rings Online slowly advances the plot of the war with Mordor with each update. Syp also wonders how quests might change if the decisions you made in the game slowly wrote your own unique story, and generated new quests based on it. Some great suggestions about a problem all too common in today's games.
Bioware devs debate whether Wii is part of gaming
CEO Ray Muzyka and President Greg Zeschuk of Bioware, a company founded on narrative-centric RPGs, can't seem to decide if the Wii is a game (as opposed to, from what we gather, a toy). In an interview with GameDaily, Zeschuk said, "If gaming is defined by story, then generally Wii may not be," though he immediately expands on that, "The game [4 to 5 people together are] playing is actually very different than the rest of us. What they're doing as a company is like a different flavor."Providing a counterpoint, Muzyaka noted that the Wii experience is "more toy-like" but also said, "there's also a narrative between the players outside the game and kind of fulfills the same things games do. Games are 'toys' in the sense that they're fun." Warren Spector had made a similar designation in an Escapist piece last year, categorizing games like Tetris and Madden akin as "retold" narratives. The above is a rather bare-bones highlight of their discussion, so check out the full interview for more.
GDC08: Early, pre-Little Sisters BioShock footage
Yesterday morning we had the chance to listen to Ken Levine speak on the storytelling process behind his hit title, BioShock. The quick Zero Punctuation video got big laughs, but there was another video during the presentation that more accurately represented what Ken was talking about. Above is a picture of a stage in the development of the Little Sisters, a hint at other (stranger?) versions of Rapture and its denizens. You can catch other stages in the Sisters development in our gallery of photos from the talk.Like the Little Sisters concept, the video itself shows an early version of Rapture. The beautiful art-deco world we know and love is an ugly, boxy, warehouse of a place. Check it out below the cut for raging Big Daddies, worm-like Little sSsters, and one of the quickest "time to crate" experiences in gaming.%Gallery-16573%
GDC 08: Entertainment content convergence in online worlds
We spent most of Monday ensconced in the GDC Worlds in Motion summit track, which made "standing room only" seem extremely spacious -- most of the sessions were packed to the gills and then some. It seems like more than a few industry types are interested in the intersections between gaming and virtual worlds. Case in point, the following session we've paraphrased (hopefully not too liberally!) from Reuben Steiger, CEO of Milllions of Us, a company that builds marketing campaigns and content for virtual worlds. Reuben: Storytelling is the bedrock of human culture. (Looking at a slide with a real campfire on the left and a user-created campfire in Second Life on the right) -- users in virtual worlds are recreating this storytelling tradition. I'm going to make a contention: the internet has failed as a storytelling medium. Instead, the norm is bathroom humor and ridiculous jokes. So virtual worlds: are they games or not? What defines a game -- linguists and semioticians get real worked up about it. The audience might say "virtual worlds are games without rules, competition, goals or fun." And it's hard to blame them. Extreme openness has defined virtual worlds, where fun can be in a way you define as opposed to what some game developer feels is fun. But the appeal of virtual worlds is that we can tell stories on a broader and less walled playing field.
SGW's Chris Klug explains his storytelling philosophy
Chris Klug is Cheyenne Mountain Entertainment's Creative Director. He sets the vision for what kind of artistic and narrative experience players of Stargate Worlds will have. It's comforting for would-be SGW players, then, that Klug seems well educated in the basics of storytelling known to novelists and screenwriters.Klug describes his storytelling philosophy in an article at RPG Vault. He talks about driving the story and characterization forward with each moment of game-play, and evoking a wide variety of emotions. You'd find many of the techniques and concepts he describes in a screenwriting textbook at USC. The folks at Cheyenne have told us before that SGW will stand out for its approach to storytelling, but this is the first evidence we have that they are on the right track.Oh, and the article features two new SGW-related images.
The Escapist wants you to consider Myst Online
Storytelling in massively multiplayer games usually occurs only in footnotes. You might read a lore item's description here, get a hint in the quest text there, but it's almost always an ancillary part of the experience. In the olden days of text MUDs, that wasn't necessarily the case. In some MUDs, players and wizards engaged in communal storytelling, as in the best pen-and-paper roleplaying sessions.If you look at today's mainstream online games, it seems as if that art has been lost. There are some smaller communities out there that still herald that kind of experience, though. The Escapist focused on one of those in an article titled "The Ending Has Not Yet Been Written." It's an excellent piece about how players and developers alike have fostered a unique, niche-storytelling experience in Cyan Worlds' Myst Online: Uru Live.Myst has always been an eccentric in the gaming world. It was a groundbreaking success for computer games, and it spawned countless clones, but no one ever recaptured its magic. Now the series is treading a unique path in the online world, despite past setbacks.
Hoping for better in-game stories next year
Mike Antonucci of the San Jose Mercury News posts three game wishes -- resolutions he hopes to impose on others -- for the new year, including a demand for games to have good stories. He estimates that 95 percent of games have no story compared to movies, books, or other kinds of entertainment. We strongly agree and disagree with his hope for more story; games that have plots should have strong stories within the gameplay, and games without plots should skip storytelling altogether.Too often, games try to behave as movies. We understand the urge to follow other established conventions; game design is still a young form of expression, and new mediums naturally emulate old ones. But games are unique. We want to play, not watch; unraveling a story within the gameplay is ideal, but waiting for cut-scenes gives us half of a game and half of a movie. Designers, if the story doesn't belong in the action, it doesn't belong in the game.
DS fans unsurprised at French view of games as art
Earlier this month, the French minister of culture declared that video games should be included in the industries that are considered for tax breaks in that country -- something limited to artistic endeavors. Yes, that's right ... in France, someone is moving for games to be declared bastions of art. That's quite different from what we've more often heard over the years, but it's not too new for France, a nation that offered up Ordre des Arts et des Lettres (awards for cultural achievement) to game designers, including our own Shigeru Miyamoto. But are we surprised by the move? DS fans know all about the art of video games; after all, it's our handheld that's leading the rebirth of games that are only there to tell a story -- games like Phoenix Wright and Contact, games that aren't so much about the gameplay as they are about what happens during gameplay. Sure, Halo has an intriguing story (albeit one ripped from the dozens of sci-fi franchises that came before), but in the end, Halo isn't about the story. It's about shooting things with weapons. And that's all well and good, but a compelling story adds a lot to a game. People aren't hoping for Final Fantasy VI redux (ala the update on FFIII) because of the gameplay, though as an RPG, it is hailed at the forefront of the genre. Still, fans want it for the game itself -- the rich world and compelling characters. It's that quality that we crave in a game and that so many products of the industry lack.France's move will, we hope, spur that further. When it comes to the question of art, games are often spurned as not serious, as brain-rotting fluff. Hey, sometimes, that's what makes a game fun. Mario Kart isn't, after all, an epic quest for the golden cup. It's about watching your best good friends shake their fist in the wake of your exhaust fumes. But there have been great examples of storytelling in games, and what's more, there have been ideas, kernels of stories that have been lost because hey, who cares about the story?
Bioware demonstrates digital actors at Austin Game Conference
An intriguing article on Gamasutra details Bioware's visit to the Austin Game Writers Conference and their resulting presentation, "Creating Characters for Games: Writing for Digital Actors." One of the few developers that puts as much, if not more, emphasis on stories and characters versus other elements of their games, Bioware outlined a change in writing methodology required for visually lush next-gen games. Unlike older, less ambitious role-playing games which furthered the story via motionless character portraits or a handful of canned animations, the upcoming Mass Effect has tasked writers with taking things such as body language and subtle physical gestures into account. It's an interesting case where the writer can rely on the graphics to tell a part of the story -- usually it's the other way around.The article also delves into the creation of the story and how the player's choices need to be plentiful while still remaining within the framework of the overall game. Again, the digital actor can be used to guide the player down certain paths, avoiding erratic or non-sensical behaviour that has a character suddenly going from cheery to murderous after the press of a button. There's definitely a tug of war going on between the player (who wants freedom) and the storyteller (who wants to tell a coherent tale). With more realistic graphics and lifelike characters being introduced in the coming years, it's unclear as to who will end up having the greatest grip. See also: Bioware defines Mass Effect Video of E3 Mass Effect demo hits XBLM Joystiq's impressions of Mass Effect at E3
