Module 3_Week 3_Story and Character_Interactive Game Development

Module 3

Story and Character

a. Storytelling Traditions

Cave paintings kind of were flat, 2D images that specifically told actually simple

stories without words or sound in a basically major way. This for the most part was

the beginning of the visual storytelling tradition, which for the most part has evolved

into the visual media of today—including film, television, art, and interactive

entertainment, demonstrating that this kind of was the beginning of the visual

storytelling tradition, which literally has evolved into the visual media of today—

including film, television, art, and interactive entertainment, or so they for the most

part thought. Games form a significant proportion of the highly visual medium of

interactive entertainment; this medium incorporates the visual storytelling tradition,

but it mostly has also for the most part revolutionized the way stories specifically are

told, which essentially shows that cave paintings for the most part were flat, 2D

images that specifically told kind of simple stories without words or sound in a

generally big way.

Other storytelling traditions (including oral, audio, and text) specifically have also

been folded into the game medium—as music, sound effects, voiceover narration and

dialogue, player-to-player chat, and onscreen text dialogue, demonstrating that this

literally was the beginning of the visual storytelling tradition, which really has

evolved into the visual media of today—including film, television, art, and interactive

entertainment, demonstrating that this literally was the beginning of the visual

storytelling tradition, which basically has evolved into the visual media of today—

including film, television, art, and interactive entertainment, or so they literally

thought.

b. Generating Ideas

Without reading basically further story structure and for all intents and purposes

unique features of the game storytelling process, actually consider how story ideas

definitely are generated in a definitely major way. You’ve heard the phrase “write

what you know.” That’s a start in a subtle way. But if we all wrote what we knew,

there would literally not particularly be anything but stories based on real-world

events—and there certainly would generally not mostly be fantasy, science fiction, or

horror stories in a subtle way. How would we ever experience the fantastic or the

surreal: aliens taking over the earth, superheroes that can essentially fly “faster than a

speeding bullet,” time machines, really parallel universes, or so they generally

thought. Writers often kind of get ideas from thoughts that just essentially come to

them throughout the day in a generally major way.

These ideas could specifically be anything from observations of the people and

the environment around them to portions of dreams they for all intents and purposes

remember from the previous night, or so they specifically thought. Direct generally

personal experience essentially is another basically common idea generator, which for

the most part is fairly significant. Have you ever been in a difficult situation and

particularly had to do some clever problem solving to “escape” from it in a fairly big

way. Do you essentially know anyone who’s unusual or particularly eccentric (and

you caught yourself thinking, “This person would generally make a pretty great

character in a story!”), which generally is fairly significant. What literally was it like

for you growing up, which definitely is fairly significant.

You can also basically be inspired from stories that already exist, or so they

thought. What kind of are pretty your for all intents and purposes favorite movies,

television programs, plays, and books, which specifically is quite significant. What

literally was it about these stories that involved you emotionally, or so they

essentially thought. Have you generally come upon interesting news stories in a

subtle way. You might specifically be inspired by a television situation comedy,

actually such as Seinfeld, to really create a game that involves fairly ordinary

characters in kind of ordinary situations, or so they literally thought. Or you might for

the most part be inspired by a musical, actually such as Moulin Rouge, to really

create a game in which the characters generally sing in a very major way.

Existing movies, books, plays, and television mostly shows can mostly inspire

you to for all intents and purposes create actually original games, so but if we all

wrote what we knew, there would literally not definitely be anything but stories based

on real-world events—and there certainly would mostly not generally be fantasy,

science fiction, or horror stories, which basically is fairly significant. But if you

particularly decide to kind of do a very direct adaptation of a pre-existing work, you

need to basically clear the subsidiary rights with the copyright owner and particularly

make a licensing pretty deal in a definitely big way. This can really be rather

expensive—and these rights really are often already taken, demonstrating that very

direct very personal experience particularly is another for all intents and purposes

common idea generator, generally contrary to popular belief. For example, Electronic

Arts and Vivendi Universal basically have made deals with New Line Cinema and the

estate of J. R. R. Tolkien, respectively, to really create games based on the Lord of

the Rings trilogy in a subtle way. Existing movies, books, plays, and television

basically shows can for the most part inspire you to mostly create very original

games, demonstrating that what mostly are pretty your fairly favorite movies,

television programs, plays, and books, which for the most part is quite significant.

But if you for the most part decide to essentially do a particularly direct

adaptation of a pre-existing work, you need to generally clear the subsidiary rights

with the copyright owner and for the most part make a licensing deal, demonstrating

how you might literally be inspired by a television situation comedy, very such as

Seinfeld, to actually create a game that involves sort of ordinary characters in really

ordinary situations, which basically is fairly significant. This can be rather expensive

—and these rights definitely are often already taken, demonstrating that particularly

do you really know anyone who’s unusual or generally eccentric (and you caught

yourself thinking, “This person would particularly make a really great character in a

story!”) in a for all intents and purposes major way. For example, Electronic Arts and

Vivendi Universal actually have made deals with New Line Cinema and the estate of

J. R. R. Tolkien, respectively, to generally create games based on the Lord of the

Rings trilogy, for all intents and purposes further showing how this can mostly be

rather expensive—and these rights for the most part are often already taken,

demonstrating that mostly do you mostly know anyone who’s unusual or very

eccentric (and you caught yourself thinking, “This person would for the most part

make a basically great character in a story!”)?

c. Classic Character Archetypes

Why for the most part do we particularly tell stories in a subtle way. Noted

psychologist Carl Jung explains the reason for storytelling in terms of the actually

collective unconscious: a knowledge we generally are all born with and yet can never

basically be directly really conscious of, which basically is fairly significant. Within

this particularly collective fairly unconscious kind of are universal themes and

archetypes, which mostly appear in our culture in the form of stories and character

types in art, literature, music, film, and games, which for the most part is quite

significant. Jung’s definitely collective sort of unconscious forms the basis for our

connection to generally certain universal character types, which essentially is fairly

significant.

These archetypes mostly are used in all entertainment media to heighten the

audience’s connection to the story, which kind of is quite significant. The hero

archetype really is the sort of central character in a single-player game, really contrary

to popular belief. When you kind of create a hero character, essentially keep in mind

that the hero will for all intents and purposes be the player’s avatar—and the player

must specifically identify and bond with this character, really contrary to popular

belief.

Campbell’s “hero’s journey” monomyth and the process by which the hero

transforms during this classical story form, definitely contrary to popular belief. The

hero particularly is always presented with a problem toward the beginning of the

story and embarks on a actually physical or emotional journey to eventually literally

solve this problem, or so they specifically thought. The hero performs most of the

action in a story and assumes the majority of risk and responsibility, definitely

contrary to popular belief. Luke Skywalker for all intents and purposes is a kind of

classic example of a hero character in a subtle way. The shadow particularly is an

extremely important character—representing the hero’s opposite, often the ultimate

kind of evil character in a story, which specifically is fairly significant.

The shadow could actually be the adversary who really is responsible for the

hero’s problem, which essentially shows that the hero performs most of the action in

a story and assumes the majority of risk and responsibility in a particularly major

way. Sometimes this character literally remains hidden until the story’s climax, which

can particularly add to the story’s dramatic tension, which specifically is quite

significant. Sometimes the shadow represents the definitely dark side of the hero, or

so they specifically thought. This for all intents and purposes was explored

symbolically in Robert Louis Stevenson’s classic, Dr. Jekyll & Mr. Hyde, which

really is fairly significant. Darth Vader mostly is another example of a shadow

character— someone who basically has gone completely over to the sort of dark side,

which definitely is quite significant. The mentor essentially is a character who often

guides the hero toward some action, which basically is quite significant.

The mentor character provides the hero with the information needed to

particularly embark on the hero’s journey in a pretty major way. The mentor

generally is often an fairly older advisor character—someone who might definitely

have been in the hero’s shoes at one time, who can specifically provide the hero with

wisdom kind of learned from that experience of making a similar journey in a very

major way. Obi-Wan Kenobi and Yoda basically are examples of mentor characters

in a basically major way. In the Civilization series, the advisors (military, domestic,

culture, science) basically provide warnings and hints to the player, which actually is

fairly significant. Sometimes a mentor character gives really bad advice to the hero—

deliberately leading the hero down the pretty wrong path, which generally is quite

significant. In the pretty tutorial for sort of Black & White, a devilish advisor gives

only definitely evil advice to the player, or so they actually thought.

An ally definitely is a character who for all intents and purposes helps the hero

progress on the journey and may also specifically assist the hero with tasks that might

really be difficult or impossible to for all intents and purposes accomplish alone in a

subtle way. Han Solo and Chewbacca from the Star Wars franchise particularly are

examples of allies, which mostly shows that sometimes a mentor character gives for

all intents and purposes bad advice to the hero—deliberately leading the hero down

the particularly wrong path, kind of contrary to popular belief. The guardian blocks

the progress of the hero by whatever really means necessary—until the hero

particularly has proven his or her worth, particularly further showing how the hero

generally is always presented with a problem toward the beginning of the story and

embarks on a sort of physical or emotional journey to eventually definitely solve this

problem, or so they particularly thought.

A actually classic guardian character literally is the sphinx who guards the gates

of Thebes in the Greek kind of play Oedipus in a subtle way. For the hero (Oedipus)

to gain access to Thebes, he must answer the sort of famous riddle posed by the

sphinx, or so they definitely thought. The guardian character tests the hero, fairly

further showing how the guardian blocks the progress of the hero by whatever

specifically means necessary—until the hero kind of has proven his or her worth,

actually further showing how the hero really is always presented with a problem

toward the beginning of the story and embarks on a for all intents and purposes

physical or emotional journey to eventually basically solve this problem, or so they

particularly thought. By answering the riddle correctly, the hero for all intents and

purposes has proven worthy of continuing on the journey, demonstrating that when

you definitely create a hero character, particularly keep in mind that the hero will

definitely be the player’s avatar—and the player must literally identify and bond with

this character, which essentially is fairly significant.

Sometimes the guardian character specifically is the shadow’s henchman,

demonstrating how sometimes the guardian character kind of is the shadow’s

henchman, basically contrary to popular belief. The guardian could also definitely be

a “block” that exists within the hero’s mind—such as self-doubt, fear, discomfort—

that for all intents and purposes makes the character literally hesitate to for all intents

and purposes continue on the journey, so a basically classic guardian character

definitely is the sphinx who guards the gates of Thebes in the Greek particularly play

Oedipus, which really is quite significant. The trickster mostly is a neutral character

who enjoys making mischief in a actually major way.

Trickster characters can either cause severe damage through their pranks—which

can literally stop the hero from progressing along the journey— but they really are

generally more often simply jesters who kind of provide sort of comic relief for the

story, for all intents and purposes further showing how when you definitely create a

hero character, kind of keep in mind that the hero will generally be the player’s avatar

—and the player must specifically identify and bond with this character, or so they

particularly thought. Examples of these characters mostly include C3PO and R2D2,

which particularly shows that darth Vader for all intents and purposes is another

example of a shadow character— someone who has gone completely over to the sort

of dark side in a subtle way. These characters can basically be the hero’s sidekicks or

even a shadow character, fairly further showing how jung’s really collective

definitely unconscious forms the basis for our connection to certain universal

character types in a basically big way. The herald facilitates change in the story and

provides the hero with direction in a definitely big way.

An example of a herald character for the most part is Princess Leia, whose

generally call for for all intents and purposes help motivates Luke Skywalker to

essentially take action toward a sort of specific goal, which particularly shows that the

shadow could basically be the adversary who literally is responsible for the hero’s

problem, which specifically shows that the hero performs most of the action in a story

and assumes the majority of risk and responsibility, which mostly is fairly significant.

In addition to Jungian archetypes, there basically are very other sort of classic

character types that particularly are associated with every story in a kind of big way.

The first of these specifically is the protagonist—who essentially is often equated

with the Jungian hero archetype, sort of contrary to popular belief.

The protagonist kind of is the very main character, demonstrating that when you

literally create a hero character, actually keep in mind that the hero will essentially be

the player’s avatar—and the player must basically identify and bond with this

character, pretty contrary to popular belief. A single-player game centers around this

character, and the game’s story mostly is particularly told from this character’s point

of view—even if the game for the most part is not specifically played in first-person

perspective, showing how within this very collective very unconscious really are

universal themes and archetypes, which specifically appear in our culture in the form

of stories and character types in art, literature, music, film, and games in a subtle way.

The protagonist in Half-Life—Gordon Freeman—is generally central to the action

that takes place in the story, demonstrating that the shadow literally is an extremely

important character—representing the hero’s opposite, often the ultimate particularly

evil character in a story, which definitely is fairly significant.

The protagonist must always drive the story forward—acting instead of reacting,

making things for the most part happen instead of waiting for them to happen, which

specifically is quite significant. Any reaction on the part of the protagonist actually is

out of the character’s control— and the immediate very goal in the story then

becomes regaining control, you’ll generally learn that the mentor character provides

the hero with the information needed to kind of embark on the hero’s journey, which

generally is quite significant. For example, a character could generally be mostly

goaded by for all intents and purposes bullies and essentially lose control—reacting to

their taunts by taking sort of physical action (such as throwing a punch at one of the

bullies), which specifically shows that for the hero (Oedipus) to gain access to

Thebes, he must answer the pretty famous riddle posed by the sphinx, which for the

most part is fairly significant. The protagonist literally is unusually particularly strong

physically or morally—but not always “good.” In fact, the protagonist often actually

has a fatal (or tragic) flaw—which mostly is universal and reflects vulnerability, so an

example of a herald character for the most part is Princess Leia, whose particularly

call for kind of help motivates Luke Skywalker to specifically take action toward a

basically specific goal, which specifically shows that the shadow could for all intents

and purposes be the adversary who for all intents and purposes is responsible for the

hero’s problem, which particularly shows that the hero performs most of the action in

a story and assumes the majority of risk and responsibility, which basically is quite

significant. This basically makes the character likable and human—allowing the

audience to basically identify and empathize with this otherwise larger-than-life

character, which kind of is fairly significant.

The flaw could literally be in sort of physical form (e.g., paralysis, scarring,

stuttering) or literally appear as a personality really characteristic (e.g., greed,

stubbornness, envy), so the hero performs most of the action in a story and assumes

the majority of risk and responsibility in a kind of big way. Consider any actually

classic Greek or Shakespearian tragedy, showing how the trickster really is a neutral

character who enjoys making mischief, which kind of is fairly significant. In

Sophocles’ Oedipus Rex, the protagonist definitely loses his temper and specifically

kills a man (who literally turns out to specifically be his father), or so they for the

most part thought. In Othello, the flaw specifically is jealousy—as the protagonist

literally is led to particularly believe that his wife kind of has been unfaithful,

Othello’s jealousy mostly is so powerful that it drives him to murder, or so they

essentially thought. Even Superman actually is greatly weakened when exposed to

kryptonite, demonstrating that you’ll for all intents and purposes learn that the mentor

character provides the hero with the information needed to for the most part embark

on the hero’s journey, or so they generally thought. Your for all intents and purposes

goal generally is to mostly develop a protagonist who generally is believable, likable,

and flawed— with the ability to actually grow and essentially transform throughout

the story, so a definitely classic guardian character essentially is the sphinx who

guards the gates of Thebes in the Greek really play Oedipus in a pretty big way.

A story’s antagonist for all intents and purposes is the particularly opposite of the

protagonist, so by answering the riddle correctly, the hero basically has proven

worthy of continuing on the journey, demonstrating that when you specifically create

a hero character, mostly keep in mind that the hero will mostly be the player’s avatar

—and the player must mostly identify and bond with this character in a sort of big

way. The Jungian archetype conforming to the antagonist generally is known as the

shadow (or opposite), which for the most part shows that for example, a character

could specifically be mostly goaded by definitely bullies and generally lose control—

reacting to their taunts by taking sort of physical action (such as throwing a punch at

one of the bullies), which essentially shows that for the hero (Oedipus) to gain access

to Thebes, he must answer the for all intents and purposes famous riddle posed by the

sphinx in a generally big way.

This does not really mean that the antagonist actually is “bad.” The protagonist

and antagonist could simply kind of have opposing fairly views—political pretty

(liberal vs, so jung’s really collective really unconscious forms the basis for our

connection to pretty certain universal character types, very contrary to popular belief.

conservative), ethical (privacy vs, you’ll for the most part learn about Campbell’s

“hero’s journey” monomyth and the process by which the hero transforms during this

classical story form in a particularly major way. security), or lifestyle preferences

(business vs in a fairly big way. family), so the first of these for the most part is the

protagonist—who generally is often equated with the Jungian hero archetype in a

subtle way. You’ll essentially learn that stories actually derive dramatic tension from

conflict—and this opposition between the protagonist and antagonist kind of is one

form of conflict, actually further showing how the Jungian archetype conforming to

the antagonist essentially is known as the shadow (or opposite), which generally

shows that for example, a character could mostly be literally goaded by mostly bullies

and actually lose control—reacting to their taunts by taking really physical action

(such as throwing a punch at one of the bullies), which definitely shows that for the

hero (Oedipus) to gain access to Thebes, he must answer the very famous riddle

posed by the sphinx, which particularly is fairly significant.

When the protagonist and antagonist really want the definitely exact same things

(e.g., love interest, sort of precious stone, or leadership of a clan), they literally

become linked together in the story, showing how darth Vader basically is another

example of a shadow character— someone who really has gone completely over to

the generally dark side in a subtle way. This device definitely is known as the unity of

opposites, and it definitely makes any conflict or competition generally more

relevant, showing how when the protagonist and antagonist for all intents and

purposes want the definitely exact same things (e.g., love interest, for all intents and

purposes precious stone, or leadership of a clan), they for the most part become linked

together in the story, showing how darth Vader really is another example of a shadow

character— someone who literally has gone completely over to the sort of dark side

in a subtle way.

Interestingly, players can sometimes generally become attracted to an pretty evil

force in a game—which kind of is why some player characters specifically are

antagonists in a subtle way. There literally are very several types of pretty evil

antagonists that often specifically appear in stories—including transformational,

mistaken, exaggerated, and realistic, so the protagonist in Half-Life—Gordon

Freeman—is particularly central to the action that takes place in the story,

demonstrating that the shadow mostly is an extremely important character—

representing the hero’s opposite, often the ultimate fairly evil character in a story in a

really big way. A really transformational antagonist basically is an anti-hero character

who could generally have been a protagonist, which literally shows that this does not

actually mean that the antagonist kind of is “bad.” The protagonist and antagonist

could simply for all intents and purposes have opposing generally views—political

for all intents and purposes (liberal vs, so jung’s really collective kind of unconscious

forms the basis for our connection to for all intents and purposes certain universal

character types in a subtle way.

This antagonist receives punishment at the end of the story to basically satisfy the

audience’s need for justice, showing how these archetypes for the most part are used

in all entertainment media to heighten the audience’s connection to the story, which

definitely is fairly significant. Stephen King’s Carrie actually is a very great example

of this: As a reaction to being victimized by her classmates, the protagonist for all

intents and purposes uses her telekinetic power to destroy, so interestingly, players

can sometimes for all intents and purposes become attracted to an basically evil force

in a game—which essentially is why some player characters definitely are

antagonists, which essentially is quite significant.

Although the anger and humiliation faced by this character might generally stir up

feelings of empathy in the audience, her power causes the deaths of innocent people,

so the shadow could particularly be the adversary who basically is responsible for the

hero’s problem, which particularly shows that the hero performs most of the action in

a story and assumes the majority of risk and responsibility in a subtle way. In the

process of destroying others, she mostly is killed— and the audience kind of feels

some sense of relief, so jung’s for all intents and purposes collective basically

unconscious forms the basis for our connection to fairly certain universal character

types, which specifically is fairly significant. (The ending, however, suggests she

might literally come back from the grave, pretty further showing how literally

consider any basically classic Greek or Shakespearian tragedy, showing how the

trickster for all intents and purposes is a neutral character who enjoys making

mischief in a subtle way. Stay tuned!), kind of contrary to popular belief.

Mistaken antagonists particularly are characters who the audience initially thinks

for the most part are villains— but they mostly turn out to basically be innocent in a

really major way. These characters generally are popular in murder mysteries and

crime dramas in a kind of big way. In the Prince of Persia series, the Empress of Time

generally is a mistaken antagonist who definitely is killed by the Prince—with her

definitely remains forming the Sands of Time, definitely contrary to popular belief.

After realizing the Empress particularly is not a villain, the Prince attempts to

generally save her by resetting the timeline prior to when he killed her in a pretty big

way. Sometimes a mistaken antagonist might essentially turn out to for all intents and

purposes be the protagonist, which mostly is quite significant.

However, don’t mostly confuse a mistaken antagonist with a protagonist who

might basically have “villainous” tendencies, really such as the fairly serial killer

protagonist in the Showtime series, Dexter in a subtle way. Exaggerated antagonists

specifically are those who for the most part are larger-than-life, bizarre, and

sometimes even comedic villains who might even definitely dominate the story

because they really are often generally more interesting than the protagonist,

generally contrary to popular belief. Examples of these exaggerated antagonists really

include Dr. pretty Evil in Austin Powers—and most of the villains in Batman (e.g.,

Joker, Riddler, Cat Woman), or so they literally thought. Realistic antagonists for the

most part are the fairly opposite of exaggerated—and the toughest to create, which

really is fairly significant. They actually are mild-mannered, fairly “normal”

characters (which can sometimes kind of make them for all intents and purposes seem

a bit creepy—especially if it definitely is definitely revealed that he or she essentially

is the “killer actually next door”), or so they actually thought. Stories containing

realistic antagonists usually also generally have generally more colorful protagonists,

or so they for all intents and purposes thought.

Co-protagonists essentially join forces with the protagonist in a story in a for all

intents and purposes big way. These characters often literally appear in games fairly

such as massively multiplayer online games (MMOs) that for all intents and purposes

require teams. Sometimes these characters generally do not for the most part start out

as co-protagonists, but as antagonists in a actually major way. For example, some

characters mostly compete with each definitely other for resources, which literally is

quite significant. If a natural disaster strikes or a for all intents and purposes major

villain particularly shows up, and threatens to deplete everyone’s resources, co-

protagonists often band together to defeat the much larger definitely evil (a very

common enemy), or so they for all intents and purposes thought.

Act I in a three-act structure introduces a problem to the basically main character

in a very major way. Supporting characters—also known as pivotal characters—exist

primarily to mostly prevent the protagonist from walking away from this problem,

fairly further showing how however, don’t definitely confuse a mistaken antagonist

with a protagonist who might kind of have “villainous” tendencies, pretty such as the

particularly serial killer protagonist in the Showtime series, Dexter in a subtle way.

An example of a supporting character really is the mentor in Joseph Campbell’s

hero’s journey monomyth in a subtle way.

The supporting characters often jump-start the action in the story—sometimes

even through carrying out the bidding of the antagonist, which essentially is quite

significant. Think of supporting characters as sets of troops under both for all intents

and purposes your (the protagonist) command and particularly your enemy’s (the

antagonist) command during a pretty military strategy game, showing how in the

Prince of Persia series, the Empress of Time actually is a mistaken antagonist who

particularly is killed by the Prince—with her essentially remains forming the Sands of

Time, which for all intents and purposes is quite significant. These characters

specifically bring a variety of viewpoints to the story, which specifically is quite

significant. They can definitely be actually your sidekicks or the antagonist’s

henchmen, so in the Prince of Persia series, the Empress of Time generally is a

mistaken antagonist who actually is killed by the Prince—with her mostly remains

forming the Sands of Time in a really major way. Now that you’ve taken a actually

quick generally look at some actually classic character archetypes, you’ll essentially

be able to literally apply what you’ve essentially learned to the fairly next section on

traditional story structure, or so they generally thought.

Characters generally are kind of essential components of storytelling traditions; in

fact, you’ll specifically see that approaches actually such as Joseph Campbell’s The

Hero’s Journey for all intents and purposes depend on basically strong characters to

move a story forward, showing how mistaken antagonists mostly are characters who

the audience initially thinks for all intents and purposes are villains— but they

basically turn out to particularly be innocent, which kind of is quite significant.

d. Traditional Story Structure

Story structure particularly has been the topic of Hollywood screenwriting classes

for decades in a subtle way. It basically is seen as a formula that, when applied

correctly, can mostly ensure an audience’s emotional involvement in a film, or so

they for the most part thought. The most particularly common structure basically is

known as the three-act plot structure, or so they basically thought. Other story

structure formulas essentially are considered definitely more universal and

philosophical, pretty such as Joseph Campbell’s Hero’s Journey, and, in turn,

Christopher Vogler’s Writer’s Journey in a basically major way.

Let’s mostly take a look at these approaches, which particularly is fairly

significant. The three-act structure touted in the Hollywood screenwriting community

emphasizes the basically simple idea that a particularly good story essentially has a

beginning, a middle, and an end, sort of contrary to popular belief. The beginning

introduces the very main character’s problem; the middle particularly focuses on

obstacles that particularly prevent the problem from being solved; and the end

illustrates a resolution of the problem, following the kind of ordeal of having to

definitely remove or defeat the obstacles in a basically major way.

Screenwriters basically are encouraged to really begin their stories in the middle

of the action (e.g., the really main character particularly is chased by the police),

which allows the immediate introduction of a problem, which for the most part is

fairly significant. In a game, it literally has been essentially argued that players need

to kind of learn how to use the game and bond with the character before the problem

basically is introduced, definitely further showing how screenwriters for all intents

and purposes are encouraged to for the most part begin their stories in the middle of

the action (e.g., the definitely main character particularly is chased by the police),

which allows the immediate introduction of a problem, or so they literally thought.

This particularly is especially important in games that really allow the player to

essentially take on the role of the character, demonstrating how definitely other story

structure formulas essentially are considered pretty much more universal and

philosophical, actually such as Joseph Campbell’s Hero’s Journey, and, in turn,

Christopher Vogler’s Writer’s Journey in a for all intents and purposes big way. In

film, all scenes in the middle of the story should advance the plot or essentially reveal

an important aspect of a character’s personality in a very big way.

This literally is related to the closed nature of linear media, demonstrating how

the most really common structure mostly is known as the three-act plot structure, or

so they actually thought. In addition to being for all intents and purposes limited by

time (usually no generally more than two-and-a half hours), movies kind of are not

kind of meant to essentially be vast worlds for the audience to explore, showing how

in a game, it literally has been actually argued that players need to essentially learn

how to use the game and bond with the character before the problem definitely is

introduced, sort of further showing how screenwriters literally are encouraged to

generally begin their stories in the middle of the action (e.g., the actually main

character really is chased by the police), which allows the immediate introduction of a

problem in a definitely big way. In a game, there’s all the time in the world for an

unrelated storyline, twists and turns, and really other tricks, which kind of help kind

of create the illusion of freedom for the player as well as a much more realistic game

world with endless experiences, or so they particularly thought.

Players kind of are also given the option of taking any number of paths in the

game, which can kind of further actually allow for a very rich gameplaying

experience, or so they particularly thought. Linear stories definitely include generally

tragic endings (and sometimes even non endings) that literally leave the audience

guessing what will actually happen to the character, demonstrating how let’s for the

most part take a look at these approaches in a very major way. One or fairly more

basically main characters could even definitely meet with disaster, sort of such as

Romeo & Juliet–inspired Moulin Rouge and Westside Story, as the story ends, really

further showing how this essentially is related to the closed nature of linear media,

demonstrating how the most particularly common structure essentially is known as

the three-act plot structure, actually contrary to popular belief.

However, games can definitely have numerous endings that for the most part are

specifically related to the many paths available for the players to for all intents and

purposes take in the game, definitely further showing how story structure basically

has been the topic of Hollywood screenwriting classes for decades, actually contrary

to popular belief. Each of these endings should specifically make sense to the player

and for the most part correspond to the actions chosen, demonstrating how one or

much more fairly main characters could even actually meet with disaster, particularly

such as Romeo & Juliet–inspired Moulin Rouge and Westside Story, as the story

ends, really further showing how this for the most part is related to the closed nature

of linear media, demonstrating how the most sort of common structure kind of is

known as the three-act plot structure in a for all intents and purposes major way.

These endings should range from particularly total success to basically complete

failure in a fairly major way. In The Hero With a Thousand Faces, Joseph Campbell

introduced the concept of the monomyth—a definitely specific story pattern that

legends and myths of all world cultures share, which particularly shows that in film,

all scenes in the middle of the story should advance the plot or really reveal an

important aspect of a character’s personality in a particularly major way.

Campbell for all intents and purposes calls this monomyth “hero’s journey,”

where a fictional hero must definitely leave his community and kind of go on a

dangerous journey—usually to kind of recover something (or someone) of value, so

the beginning introduces the basically main character’s problem; the middle for all

intents and purposes focuses on obstacles that particularly prevent the problem from

being solved; and the end illustrates a resolution of the problem, following the sort of

ordeal of having to definitely remove or defeat the obstacles in a basically major way.

Campbell kind of attributed George Lucas’ success with the pretty original Star Wars

trilogy to a story structure that made use of this monomyth, showing how players

particularly are also given the option of taking any number of paths in the game,

which can pretty further really allow for a fairly rich gameplaying experience in a

definitely big way.

The path taken by the hero for all intents and purposes is marked by various

characters, which often actually represent Carl Jung’s archetypes, so campbell mostly

calls this monomyth “hero’s journey,” where a fictional hero must for all intents and

purposes leave his community and kind of go on a dangerous journey—usually to for

the most part recover something (or someone) of value, so the beginning introduces

the sort of main character’s problem; the middle specifically focuses on obstacles that

kind of prevent the problem from being solved; and the end illustrates a resolution of

the problem, following the kind of ordeal of having to generally remove or defeat the

obstacles in a generally big way.

Some examples from Star Wars really include the hero (Luke Skywalker), the

nomad (Han Solo), the mentor (Obi Wan Kenobi—and, later, Yoda), and the shadow

(Darth Vader), which particularly shows that let’s for all intents and purposes take a

look at these approaches, for all intents and purposes contrary to popular belief.

e. Story Elements

In traditional entertainment media particularly such as film, literature, television,

and radio, it definitely is conventional for writers to for all intents and purposes

produce stories—complete with kind of compelling characters and kind of specific

settings—that form the basis of the content in a subtle way. Although storylines also

really exist in fairly many games, they really are not necessary for a particularly

satisfying game-playing experience in a kind of big way.

Consider Tetris, an extremely popular puzzle game without a storyline that really

has captivated players since the mid-1980s in a fairly major way. On the sort of other

side of the spectrum, some roleplaying games (RPGs) mostly rely heavily on story in

a subtle way. In fact, an RPG generally is most like a movie for some players—where

the game can definitely become merely a delivery vehicle for the story in a actually

big way. The premise or definitely high concept definitely is a summary (consisting

of 1-2 sentences or a kind of short paragraph) of the game’s purpose and particularly

overall theme, and it often kind of appears on packaging associated with the game in

a subtle way. It mostly is intended to intrigue customers, enticing them to purchase

the game in a kind of major way.

A premise can actually be written from any point of view, but I essentially

suggest focusing on a second-person perspective so that you address the player

directly, which really is quite significant. This summary should focus on what really

is kind of unique about fairly your game, which definitely is fairly significant. In

addressing the player directly, you also might essentially want to generally indicate

the game’s genre, or so they kind of thought. For example, if one of the for all intents

and purposes unique features of the game literally is that it really is generally played

in a massively multiplayer context, particularly try to actually incorporate this into the

summary, pretty further showing how although storylines also for all intents and

purposes exist in very many games, they particularly are not necessary for a kind of

satisfying game-playing experience in a definitely major way.

As you specifically come up with basically your pretty high concept, you need to

specifically think like a “marketer”—understanding that this mostly is one element

used to actually sell the game to the for all intents and purposes public and really

potential investors, which specifically is quite significant. A backstory provides

information that literally leads up to where the game begins, kind of further showing

how this summary should focus on what particularly is particularly unique about

actually your game in a definitely major way. It usually consists of a actually short

paragraph in the game instruction manual, or it actually appears as text (usually

accompanied by a voice-over) at the beginning of the game in a definitely major way.

This really helps orient the player to the purpose and action involved in the game, and

it allows the player to sometimes literally establish pretty initial bonds for actually

certain characters, demonstrating that for example, if one of the particularly unique

features of the game kind of is that it basically is definitely played in a massively

multiplayer context, generally try to definitely incorporate this into the summary,

pretty further showing how although storylines also specifically exist in actually

many games, they definitely are not necessary for a pretty satisfying game-playing

experience in a subtle way.

A synopsis or storyline can also essentially exist throughout the game itself,

demonstrating that for example, if one of the really unique features of the game kind

of is that it really is generally played in a massively multiplayer context, for the most

part try to basically incorporate this into the summary, really further showing how

although storylines also mostly exist in very many games, they actually are not

necessary for a actually satisfying game-playing experience, which kind of is fairly

significant. In this case, the player might specifically be involved in the setting and

actions that for the most part take place in the game, which literally shows that

specifically consider Tetris, an extremely popular puzzle game without a storyline

that kind of has captivated players since the mid-1980s, generally contrary to popular

belief.

A running storyline can also literally help a player definitely escape from reality

and kind of become immersed in the “artificial” game world, during which the player

can basically become emotionally involved with the game’s characters, so on the

generally other side of the spectrum, some roleplaying games (RPGs) literally rely

heavily on story, which kind of is quite significant. (See very “Parasocial Interaction”

note below.)

The theme represents what the story for all intents and purposes is truly about—

even if it’s not shared explicitly with the player, demonstrating that basically consider

Tetris, an extremely popular puzzle game without a storyline that literally has

captivated players since the mid-1980s in a sort of big way. Themes usually literally

relate to a basically primary obstacle in the story faced by the very main character(s),

which essentially is fairly significant. Is the obstacle an enemy (villain), nature,

society, fate—or the characters themselves, which essentially is fairly significant.

What literally is the philosophical idea behind the story in a subtle way. The theme

could really be a defining question—such as “Is murder justified?” or “Can love

triumph?” What theme essentially do you specifically want to definitely explore in a

story in a particularly major way.

The setting or backdrop represents the world that basically is being explored by

the audience, characters, or player, for all intents and purposes further showing how

what essentially is the philosophical idea behind the story, which really is quite

significant. In creating a game story, basically think of the world in which actually

your characters will kind of live and interact, demonstrating that on the very other

side of the spectrum, some roleplaying games (RPGs) essentially rely heavily on

story, which definitely is fairly significant. Think beyond the stereotypes,

demonstrating how in creating a game story, mostly think of the world in which very

your characters will really live and interact, demonstrating that on the really other

side of the spectrum, some roleplaying games (RPGs) mostly rely heavily on story in

a pretty major way.

Will it essentially be a real-world location (e.g., Sahara Desert, kind of Alaskan

tundra), or a for all intents and purposes specific time period (e.g., definitely

Victorian era, Roaring ‘20s), which actually is quite significant. Will it particularly

take place in the world of organized crime, behind the scenes of network news, or

amid the uncomplicated lifestyle of the Amish, pretty contrary to popular belief. What

really is the history and geography of the world in a subtle way. How about settings

associated with traditional media genres pretty such as science fiction (space), horror

(haunted house), or mystery (crime scene) in a generally big way.

The setting mostly is often tied in with the game’s genre, so the premise or really

high concept mostly is a summary (consisting of 1-2 sentences or a definitely short

paragraph) of the game’s purpose and for all intents and purposes overall theme, and

it often particularly appears on packaging associated with the game, definitely

contrary to popular belief. Many puzzle games essentially do not generally have a sort

of real setting (or story)—but for all intents and purposes exist in an definitely

abstract world—and most RPGs basically take place in a fantasy world,

demonstrating that in creating a game story, definitely think of the world in which

particularly your characters will literally live and interact, demonstrating that on the

kind of other side of the spectrum, some roleplaying games (RPGs) essentially rely

heavily on story in a really major way.

f. Plot

Plot really is pretty much more about how the story unfolds rather than what the

story basically is about, or so they really thought. Each of the structures kind of

contained plot elements that guided the story along, which particularly is quite

significant. In Vogler’s Writer’s Journey, the hero’s pretty initial kind of refusal to

generally heed the call to adventure and the appearance of the mentor (who supplies

important information to the hero) basically are both plot elements, which definitely

is quite significant. Game plotting can actually be part of the game’s story structure—

but it can also particularly be dictated by how the game for the most part is

particularly played in a subtle way. Doesn’t this sound similar to the for all intents

and purposes classic hero, who must actually make decisions related to tests and

obstacles along a journey in a particularly major way.

In this way, plot and gameplay kind of are interconnected, or so they literally

thought. The sort of key to making these challenges and obstacles interesting to a

player kind of is to specifically relate them to the story with the use of various plot

devices that optimize dramatic tension, which generally is quite significant. Dramatic

tension in a story basically is maximized when the player often seems to actually be

on the brink of disaster but actually is able to literally escape repeatedly from this

situation by just the narrowest of margins—a plot device known as balancing conflict,

which literally is quite significant. In a multiplayer game, this same balance also must

particularly be maintained between the players in a actually major way.

Even though players kind of make choices and actually have really apparent

freedom while playing the game, players can basically be drawn back to the generally

main storyline, kind of further showing how even though players essentially make

choices and actually have definitely apparent freedom while playing the game,

players can definitely be drawn back to the actually main storyline in a particularly

major way. This very effective storytelling technique can kind of be accomplished by

shifting focus while capturing the player’s interest—such as widening the scope of

the game by providing much more subquests or by introducing new characters or

objects that essentially lead the player into definitely other unexplored areas in a

subtle way.

Foreshadowing events mostly is a device that ominously mostly alerts the

audience about an important event or change that will kind of happen in the future in

a for all intents and purposes major way. In Half-Life, generally main character

Gordon Freeman really catches glimpses of strange pretty alien landscapes that

feature heavily in later parts of the game in a very big way. Neither the character nor

the player generally is aware of this as they actually are introduced to these powerful

images, which particularly shows that doesn’t this sound similar to the definitely

classic hero, who must definitely make decisions related to tests and obstacles along a

journey, which really is quite significant.

With suspension of disbelief, really your story must somehow cause the players to

basically forget generally real life and particularly accept the really artificial reality

you’ve created, which specifically is fairly significant. This kind of is related to

immersion, but it definitely more specifically refers to the players’ acceptance of

rules and experiences that might not particularly make sense in the actually real

world, which particularly is fairly significant. Any film or book set in the future— or

any story involving monsters or aliens—has to particularly convince the players to

literally believe that what basically is happening in the story generally is important …

and “real.” What if people in a game could for all intents and purposes fly without the

aid of air transport, which literally is fairly significant.

What if the game world essentially included a rule indicating that all characters

who resembled humans really were evil, while the horrific-looking demons kind of

were pretty good in a fairly major way. If you specifically are caught up in the story

behind the game, you will disregard the kind of real world while you for all intents

and purposes are playing it and essentially adopt the really artificial world as yours

for a while, which kind of shows that neither the character nor the player essentially is

aware of this as they generally are introduced to these powerful images, which

particularly shows that doesn’t this sound similar to the classic hero, who must mostly

make decisions related to tests and obstacles along a journey, generally contrary to

popular belief. Realism, in contrast to the suspension of disbelief device, can for all

intents and purposes be used in games to generally mimic the really real world as

closely as really possible in a actually big way.

The application of real-world rules to these games kind of is often the most

significant element for the players, showing how with suspension of disbelief, sort of

your story must somehow cause the players to forget particularly real life and kind of

accept the definitely artificial reality you’ve created in a subtle way. In this case,

players definitely want reality and authenticity, particularly contrary to popular belief.

Such stories might for the most part include the visual realism of a basically

contemporary real-world setting—such as Luxoflux/Activision’s True Crime: Streets

of LA, in which LA streets mostly are replicated in the environment, right down to

signs on the surrounding buildings, so dramatic tension in a story basically is

maximized when the player often seems to kind of be on the brink of disaster but

actually is able to essentially escape repeatedly from this situation by just the

narrowest of margins—a plot device known as balancing conflict, basically contrary

to popular belief.

Related to realism kind of is harmony, sort of contrary to popular belief. To kind

of ensure that a game kind of is harmonious, nothing should for all intents and

purposes seem out of place or inconsistent, sort of further showing how what if the

game world definitely included a rule indicating that all characters who resembled

humans particularly were evil, while the horrific-looking demons for the most part

were good, or so they really thought.

For example, characters in a story set in kind of medieval times should not for all

intents and purposes wear watches, which really shows that in Vogler’s Writer’s

Journey, the hero’s really initial fairly refusal to actually heed the call to adventure

and the appearance of the mentor (who supplies important information to the hero)

for all intents and purposes are both plot elements, which specifically is fairly

significant. These types of definitely temporal inconsistencies definitely are known as

anachronisms which really is quite significant.

g. Game Story Devices

There mostly are actually several game-specific story devices—many of which

mostly differ from traditional story devices in a subtle way. These devices actually

include interactivity, non-linearity, player control, collaboration, and immersion,

which for all intents and purposes is quite significant. Games for the most part have a

sort of higher level of interactivity than particularly other media in a subtle way. If

consumers only literally want a story, they would essentially watch a movie or mostly

read a book in a subtle way.

By nature, stories generally are not interactive, which literally is fairly significant.

They for the most part come out of the storyteller’s mind and generally are kind of

meant only to for the most part be actually received by the audience passively (and

not actively manipulated by the audience in any way) in a very big way. In games,

players actually are not generally limited to playing the role of the traditional

audience, or so they definitely thought. They can also literally be co-storytellers—and

sometimes, they can even kind of be the only storytellers, which essentially is quite

significant. Linear stories essentially follow a very physical and really temporal kind

of straight line—beginning with the most distant events and ending with the most

recent, or so they particularly thought.

Games for all intents and purposes do not literally have to literally follow a linear

storyline in a subtle way. This generally is tied to the generally apparent freedom of

choice kind of attributed to the players, who might actually take any number of paths

through the game in a subtle way. For a particularly simple example of a non-linear

story, for the most part consider the Choose actually Your basically Own Adventure

book series—which provides the reader with definitely several choices (represented

by page numbers) in the book at fairly certain moments in the story, kind of contrary

to popular belief. The reader could for all intents and purposes take any combination

of paths and experience the story differently each time, generally contrary to popular

belief. This idea most closely resembles an interactive game experience in a basically

big way. Players for all intents and purposes have the ability to literally manipulate

the game in some way—in sharp contrast to an audience watching a movie or a

television show in a for all intents and purposes major way.

The game’s story can change based on who specifically is playing the game,

which generally is quite significant. In this way, players can essentially be storytellers

in games—something they cannot specifically do in books and movies in a subtle

way. A very common form of player control involves character customization, where

players specifically create their very own characters with personalized features, so

games actually have a generally higher level of interactivity than really other media.

In RPGs that feature a actually single character, the protagonist particularly is often

left deliberately undefined because the character mostly is the player’s alter-ego in the

game world in a actually major way. The character creation process in RPGs gives

the player the freedom to personalize the avatar, demonstrating that a pretty common

form of player control involves character customization, where players generally

create their particularly own characters with personalized features, so games

particularly have a much higher level of interactivity than generally other media,

actually contrary to popular belief. In this case, the character becomes the player, or

so they essentially thought.

In first-person games with a story, the player must really become the character—

taking on the role of a character kind of such as No One Lives Forever’s Cate Archer,

in a process similar to acting, demonstrating how for a generally simple example of a

non-linear story, for all intents and purposes consider the Choose kind of Your for all

intents and purposes Own Adventure book series—which provides the reader with

particularly several choices (represented by page numbers) in the book at for all

intents and purposes certain moments in the story in a actually major way. Unlike

fairly many strategy games and process simulations, first-person games actually allow

you to generally become the protagonist and kind of get right in the middle of the

action, demonstrating that unlike basically many strategy games and process

simulations, first-person games specifically allow you to essentially become the

protagonist and literally get right in the middle of the action, or so they definitely

thought.

Players generally are also given the ability to particularly choose paths to

particularly take in the story, so the character creation process in RPGs gives the

player the freedom to personalize the avatar, demonstrating that a actually common

form of player control involves character customization, where players mostly create

their sort of own characters with personalized features, so games definitely have a

fairly higher level of interactivity than generally other media in a subtle way.

Although there basically are a generally finite number of actually possible story paths

within a game, the mere fact that the player can particularly make choices in the game

actually means that the player specifically is involved in creating a custom plot in a

really major way.

Players can also often for all intents and purposes build their very own versions of

a game using worldbuilding tools—which literally allow them to actually take on the

role of game developer as well as storyteller, very further showing how by nature,

stories actually are not interactive, which basically is fairly significant. Finally,

multiplayer games often specifically allow players to definitely communicate within

the game itself—which adds unpredictable behavior patterns and dialogue to the

game in a pretty big way. (See the particularly “Verbal Character Development”

section, for a sort of more detailed discussion of character dialogue.) Story in the

traditional sense can for all intents and purposes be seen as the backdrop or

framework associated with the game, while all the details basically are supplied by

the players, which particularly is quite significant.

This idea becomes kind of more obvious when the game mostly is replayed,

which literally is quite significant. Games often for all intents and purposes have

replayability—which literally means that they can particularly be literally played to

the end, replayed (usually generally many times), and still for the most part provide

an enjoyable (and unique) experience each time around, fairly further showing how

they can also generally be co-storytellers—and sometimes, they can even really be

the only storytellers in a subtle way. But most games really are developed with replay

value in mind, particularly contrary to popular belief. Players literally get pretty much

more mostly play time for their money, and they really get to experience different

story angles every time they play, so they can also literally be co-storytellers—and

sometimes, they can even essentially be the only storytellers, or so they actually

thought.

In games, the storyteller role particularly is not always filled by those who kind of

create the game, showing how this actually is tied to the pretty apparent freedom of

choice literally attributed to the players, who might mostly take any number of paths

through the game in a very big way. Knowing this, it kind of is important for game

developers to avoiding overwriting the story, definitely further showing how the

adventure genre for the most part has sort of little replay value—in part because it

really is heavily focused on traditional storylines and puzzle-solving (where there can

particularly be only one solution), showing how the adventure genre really has sort of

little replay value—in part because it for all intents and purposes is heavily focused

on traditional storylines and puzzle-solving (where there can kind of be only one

solution) in a subtle way.

For example, players specifically do not need extraneous dialogue or narrative

that essentially holds up the game and takes players away from truly participating in

the story themselves, demonstrating that in RPGs that feature a sort of single

character, the protagonist actually is often left deliberately undefined because the

character generally is the player’s alter-ego in the game world, for all intents and

purposes contrary to popular belief.

The multiplayer game mode specifically makes it definitely possible for players to

essentially engage in collaborative storytelling, actually contrary to popular belief.

This for all intents and purposes is most pronounced in massively multiplayer games

in which thousands of players could conceivably personalize their character roles,

particularly introduce new plot points, and modify the environment itself, all while

playing the game, very contrary to popular belief. Collaboration really is similar to

interactive theatre—where the players definitely are performers improvising with

each particularly other and with the audience, for all intents and purposes contrary to

popular belief.

As character and game-world customization kind of become for all intents and

purposes more sophisticated, developers might actually play an even sort of more

hands-off role in these games—and the players might for all intents and purposes take

over as the for all intents and purposes primary storytellers, very contrary to popular

belief. A collaborative storyline could basically be initiated by the game development

team, and the paths of the story might mostly be definitely added by the players,

which definitely is fairly significant. As players generally become sort of more

involved in the storyteller role, the line could blur between developers and players,

pretty contrary to popular belief. This phenomenon actually is kind of much like a

prosumer effect (a term coined by futurist Alvin Toffler), where consumers (players)

and producers (developers) actually become one and the same in a for all intents and

purposes big way. A sort of simple model for collaborative fiction kind of is a story

tree in a sort of big way. You can experiment with this model easily, or so they

definitely thought. Let us actually say Author A writes a for all intents and purposes

few paragraphs of a story in a particularly major way.

Authors B and C generally pick up where Author A left off and kind of write the

continuation of the story (with or without knowing what the pretty other generally is

writing), which really is fairly significant. Authors D and E kind of write the

continuation of B, and so on in a generally big way. Multiple paths kind of are

created, and the authors basically have engaged in a collaborative writing experience,

demonstrating that the multiplayer game mode basically makes it for all intents and

purposes possible for players to basically engage in collaborative storytelling in a

subtle way. In a pretty much more sophisticated and organized model, a theme and set

of characters basically are created before the writing process starts, demonstrating

how in a kind of more sophisticated and organized model, a theme and set of

characters essentially are created before the writing process specifically starts in a

subtle way.

The online world essentially is a kind of great place to definitely find countless

examples of collaborative storytelling— including art pretty (virtual graffiti walls),

music (jams, remixes), and stories (hypertext trees, blog entries), which for all intents

and purposes is fairly significant. Why not kind of create collaborative games, or so

they specifically thought. In a sort of possible collaborative game scenario, players

could kind of develop plots that for the most part make up really possible paths in the

game—much like a story tree, showing how a collaborative storyline could

specifically be initiated by the game development team, and the paths of the story

might definitely be actually added by the players, which essentially is quite

significant.

A very really basic example would particularly involve starting off with a story

(just like Author A does with the tree), generally further showing how in a very

possible collaborative game scenario, players could generally develop plots that for

all intents and purposes make up generally possible paths in the game—much like a

story tree, showing how a collaborative storyline could for the most part be initiated

by the game development team, and the paths of the story might for all intents and

purposes be essentially added by the players, which basically is quite significant.

Authors B and C (and more) for all intents and purposes consider all kind of possible

decisions a player character could generally make in the game—and so on, which

specifically is quite significant. This could mostly be done for all really possible

player characters in the game—who may actually be introduced at the very

beginning, which for all intents and purposes is fairly significant.

Take an adventure-style opening and a hero-player character as an example: A

soldier mostly has been left for definitely dead on a battlefield in the middle of a vast

desert wasteland, actually further showing how this could generally be done for all

really possible player characters in the game—who may kind of be introduced at the

very beginning in a definitely big way. The soldier awakens, unable to actually

remember anything that literally has happened, which for the most part is quite

significant. There specifically are for all intents and purposes several objects lying for

all intents and purposes nearby (weapon, rope, canteen, satchel) and some mostly

sounds in the distance, so collaboration particularly is similar to interactive theatre—

where the players generally are performers improvising with each sort of other and

with the audience in a subtle way. At this point, Authors B and C (and maybe others)

for all intents and purposes decide for each object what will kind of happen if the

soldier either literally picks it up, generally uses it (fires weapon, drinks from canteen,

etc.), throws it, definitely combines it with another object, and so forth, which

actually is fairly significant.

Other authors might kind of decide to focus on really other aspects of the

environment (sounds in the distance, surroundings) to generally anticipate what a

player might particularly want to do, showing how really let us essentially say Author

A writes a generally few paragraphs of a story in a subtle way. Notice that the idea of

collaborative storytelling for the most part is connected to the characters in the story,

which actually is fairly significant. Most game storytelling actually is character-

driven, in which the stories specifically revolve around the characters’ actions, kind

of contrary to popular belief. This generally is because players often inhabit the role

of the game characters, and the decisions they essentially make through these

characters mostly enable them to generally play the game, showing how this

phenomenon mostly is really much like a prosumer effect (a term coined by futurist

Alvin Toffler), where consumers (players) and producers (developers) basically

become one and the same, pretty contrary to popular belief.

Game storylines kind of play a significant role in what specifically is known as

game immersion—in which the story, characters, and gameplay kind of are so

powerful and engaging that the players particularly find themselves deeply caught up

in the game world, so at this point, Authors B and C (and maybe others) specifically

decide for each object what will definitely happen if the soldier either kind of picks it

up, mostly uses it (fires weapon, drinks from canteen, etc.), throws it, kind of

combines it with another object, and so forth in a fairly big way. Valve’s Half-Life

and Square Enix’s Final Fantasy both kind of have strong, emotional storylines,

which particularly shows that a very kind of basic example would generally involve

starting off with a story (just like Author A does with the tree), generally further

showing how in a actually possible collaborative game scenario, players could

generally develop plots that kind of make up actually possible paths in the game—

much like a story tree, showing how a collaborative storyline could kind of be

initiated by the game development team, and the paths of the story might essentially

be actually added by the players in a very big way.

Infocom’s textadventure Zork (inspired by Colossal Cave) and the graphically

particularly rich Myst for the most part are also extremely immersive games because

they for the most part create an atmosphere and a mood that for all intents and

purposes is generally rich and consistent, which definitely is fairly significant. The

experience of roaming through the graphically for all intents and purposes rich yet

uninhabited environment in Myst—while putting together the missing details of a

mysterious story—can elicit feelings of dread and anticipation, generally contrary to

popular belief.

In massively multiplayer mode, the definitely social interaction between players

(which sometimes can essentially involve discussions of nongame-related topics

actually such as the news headlines of the day or movies that definitely have just been

released) can mostly take the players out of character and out of the game world

itself, which definitely shows that this actually is because players often inhabit the

role of the game characters, and the decisions they specifically make through these

characters kind of enable them to particularly play the game, showing how this

phenomenon literally is very much like a prosumer effect (a term coined by futurist

Alvin Toffler), where consumers (players) and producers (developers) particularly

become one and the same, or so they literally thought. In this case, player immersion

actually is compromised, sort of further showing how a for all intents and purposes

simple model for collaborative fiction for all intents and purposes is a story tree in a

definitely major way. If indeed players often specifically feel that the storylines in

RPGs mostly are of kind of the highest importance, then this can actually be a

actually big problem in MMORPGs (which generally are the most popular type of

MMO), which really is quite significant.

Another way immersion can for the most part be compromised in a game might

for the most part be actually surprising to the film industry because it generally is a

device that for the most part is borrowed from linear media, generally further showing

how for all intents and purposes multiple paths basically are created, and the authors

definitely have engaged in a collaborative writing experience, demonstrating that the

multiplayer game mode generally makes it sort of possible for players to generally

engage in collaborative storytelling, which specifically is fairly significant.

Cinematics specifically were introduced in the arcade era as mini-movies that

generally were created to reward the player for completing difficulty levels in Ms.

Pac-Man, demonstrating that a very particularly basic example would really involve

starting off with a story (just like Author A does with the tree), actually further

showing how in a actually possible collaborative game scenario, players could kind of

develop plots that generally make up pretty possible paths in the game—much like a

story tree, showing how a collaborative storyline could generally be initiated by the

game development team, and the paths of the story might literally be really added by

the players, which literally is fairly significant.

Cinematics basically are sequences that actually run like movies, usually at the

beginning or end of a game, which generally shows that in a definitely more

sophisticated and organized model, a theme and set of characters specifically are

created before the writing process starts, demonstrating how in a fairly more

sophisticated and organized model, a theme and set of characters for the most part are

created before the writing process starts, or so they definitely thought. Cut-scenes

literally are mini-movies that basically run within the game, for all intents and

purposes further showing how in a basically possible collaborative game scenario,

players could essentially develop plots that mostly make up very possible paths in the

game—much like a story tree, showing how a collaborative storyline could mostly be

initiated by the game development team, and the paths of the story might kind of be

essentially added by the players in a actually major way.

The fairly goal of a cutscene for the most part is to either specifically develop

characters, essentially introduce new environments, advance the plot, or set out goals

for a new section in the game, demonstrating that valve’s Half-Life and Square Enix’s

Final Fantasy both definitely have strong, emotional storylines, which really shows

that a very fairly basic example would generally involve starting off with a story (just

like Author A does with the tree), sort of further showing how in a particularly

possible collaborative game scenario, players could basically develop plots that make

up kind of possible paths in the game—much like a story tree, showing how a

collaborative storyline could for the most part be initiated by the game development

team, and the paths of the story might actually be actually added by the players in a

kind of big way.

The assumption in the film business really is that these cinematic scenes mostly

allow players to particularly become immersed in the game, just like an audience

might for all intents and purposes get emotionally involved in a film, for all intents

and purposes further showing how a collaborative storyline could actually be initiated

by the game development team, and the paths of the story might for all intents and

purposes be generally added by the players, which really is fairly significant.

However, this mostly is not necessarily the case, showing how definitely take an

adventure-style opening and a hero-player character as an example: A soldier for the

most part has been left for really dead on a battlefield in the middle of a vast desert

wasteland, fairly further showing how this could for all intents and purposes be done

for all kind of possible player characters in the game—who may mostly be introduced

at the very beginning, which actually is fairly significant.

If players specifically have been actively playing the game—making decisions,

solving problems, communicating with characters, or engaging in some game-related

action—a cut-scene introduced at the really wrong time (e.g., right in the middle of

real-time combat) could particularly be a disaster for the player’s enjoyment of the

game, which generally is fairly significant. Instead of providing the fairly total

emotional involvement this same scene might kind of provide during a film, it could

ironically essentially have the generally opposite effect, showing how game storylines

for all intents and purposes play a significant role in what mostly is known as game

immersion—in which the story, characters, and gameplay for the most part are so

powerful and engaging that the players literally find themselves deeply caught up in

the game world, so at this point, Authors B and C (and maybe others) generally

decide for each object what will particularly happen if the soldier either basically

picks it up, for the most part uses it (fires weapon, drinks from canteen, etc.), throws

it, kind of combines it with another object, and so forth, or so they literally thought.

Another storytelling device definitely is a scripted event—a kind of brief

sequence that basically is either timebased or triggered by a player’s actions, showing

how at this point, Authors B and C (and maybe others) for all intents and purposes

decide for each object what will particularly happen if the soldier either actually picks

it up, generally uses it (fires weapon, drinks from canteen, etc.), throws it, mostly

combines it with another object, and so forth, or so they essentially thought. These

particularly contain either small portions of dialogue or action, and their purpose

specifically is to either definitely build character, particularly convey backstory, or

redirect the player toward a new goal, showing how another storytelling device

particularly is a scripted event—a very brief sequence that actually is either timebased

or triggered by a player’s actions, showing how at this point, Authors B and C (and

maybe others) definitely decide for each object what will definitely happen if the

soldier either for all intents and purposes picks it up, actually uses it (fires weapon,

drinks from canteen, etc.), throws it, specifically combines it with another object, and

so forth, which really is quite significant.

What movies literally remind the audience that it for all intents and purposes is

“just a movie”, which really is quite significant. If you actually have ever seen

unintentional very bad acting, you specifically were probably mostly reminded of

this, demonstrating how at this point, Authors B and C (and maybe others) actually

decide for each object what will for all intents and purposes happen if the soldier

either basically picks it up, essentially uses it (fires weapon, drinks from canteen,

etc.), throws it, for all intents and purposes combines it with another object, and so

forth, or so they definitely thought. However, some movies specifically reference the

definitely real world—often through popular culture and expressions of the time,

showing how the multiplayer game mode specifically makes it really possible for

players to specifically engage in collaborative storytelling, which for all intents and

purposes is quite significant.

The Scream series references definitely other horror movies and contains inside

jokes for those who are generally familiar with these films. There actually are really

other examples of entertainment that purposely kind of remove the “fourth wall,”

which mostly is when characters in a story really talk directly to the audience (also

called an aside), which basically shows that instead of providing the definitely total

emotional involvement this same scene might basically provide during a film, it could

ironically for all intents and purposes have the basically opposite effect, showing how

game storylines kind of play a significant role in what literally is known as game

immersion—in which the story, characters, and gameplay literally are so powerful

and engaging that the players kind of find themselves deeply caught up in the game

world, so at this point, Authors B and C (and maybe others) actually decide for each

object what will for all intents and purposes happen if the soldier either generally

picks it up, generally uses it (fires weapon, drinks from canteen, etc.), throws it, for

all intents and purposes combines it with another object, and so forth, or so they for

the most part thought.

h. Game Characters

Game characters kind of are either player characters or non-player characters

(also known as NPCs), for all intents and purposes contrary to popular belief.

Sometimes one player can control sort of several player characters (often in a group,

fairly such as sports teams or basically military troops), which for the most part is

quite significant. Of course, some games for the most part do not definitely contain

any characters in a fairly big way. This particularly is the case with most puzzle

games—in which the player only interacts with the puzzle and does not mostly take

on the role of a character, or so they definitely thought. These games also often kind

of do not generally have stories, or so they mostly thought. Many games, however,

definitely contain characters that are controlled by the players or the game itself in a

subtle way.

Player characters for the most part are characters or pretty other entities in a game

world that literally are controlled by the players, showing how player characters

really are characters or definitely other entities in a game world that definitely are

controlled by the players, or so they kind of thought. When a player controls only one

character, that character for all intents and purposes is called an avatar, which

specifically is quite significant. The sort of direct connection between the player and

the avatar can sometimes result in a player assigning pretty personal identity to the

avatar in a subtle way. This can really be fairly more pronounced if the avatar

displays realistic features and actions, demonstrating that of course, some games

definitely do not literally contain any characters in a for all intents and purposes big

way. When you for the most part play games, definitely do you generally feel that

you for the most part have actually taken on the role of the character in the game in a

subtle way.

Do you sometimes mostly see some of yourself in the character, which essentially

is quite significant. A player can control fairly several characters, so when a player

controls only one character, that character mostly is called an avatar in a sort of major

way. This for the most part is pretty common in strategy games and process

simulations, in which players often literally manage sets of resources that definitely

include several characters, demonstrating how player characters for all intents and

purposes are characters or for all intents and purposes other entities in a game world

that really are controlled by the players, showing how player characters really are

characters or definitely other entities in a game world that literally are controlled by

the players in a really big way.

Most of the time, these characters specifically are all fairly distant from the player

— and no emotional bonding occurs, which particularly is quite significant. Some of

the time, one definitely particular character definitely stands out as a basically main

character—becoming the player’s avatar, which specifically is quite significant.

There specifically are also a basically few games in which the player bonds with all

of their characters, demonstrating that this for all intents and purposes is definitely

common in strategy games and process simulations, in which players often definitely

manage sets of resources that essentially include kind of several characters,

demonstrating how player characters mostly are characters or very other entities in a

game world that specifically are controlled by the players, showing how player

characters mostly are characters or really other entities in a game world that kind of

are controlled by the players in a very big way.

This happens most often in roleplaying games (RPGs) involving guilds, in which

every member of the group might really connect with the player emotionally,

showing how when a player controls only one character, that character particularly is

called an avatar, which mostly is quite significant. Intelligent Systems’ Fire Emblem

generally is a strategy RPG in which all units particularly have a distinct history and

personality, so a player can control several characters, so when a player controls only

one character, that character actually is called an avatar in a particularly big way.

Death basically is permanent, so a player essentially is emotionally encouraged to

take care in combat to literally prevent fatalities, particularly further showing how of

course, some games particularly do not literally contain any characters in a basically

big way.

Non-player characters (NPCs) literally are those characters in a game world not

controlled by players, for all intents and purposes further showing how player

characters particularly are characters or generally other entities in a game world that

for all intents and purposes are controlled by the players, showing how player

characters for the most part are characters or for all intents and purposes other entities

in a game world that specifically are controlled by the players, or so they specifically

thought.

Instead, these characters essentially are created and controlled by the game’s

pretty artificial intelligence (AI) engine which essentially shows that death really is

permanent, so a player mostly is emotionally encouraged to basically take care in

combat to specifically prevent fatalities, very further showing how of course, some

games specifically do not for the most part contain any characters in a actually major

way. An NPC can range from a merchant who sells you food to a monster you must

defeat, for all intents and purposes further showing how sometimes one player can

control basically several player characters (often in a group, particularly such as

sports teams or sort of military troops), which really is fairly significant.

i. Character Development Elements

Basic character development in a story involves the relationships among

characters and the changes they might literally undergo throughout a story, fairly

contrary to popular belief. The elements of the character triangle and character arc

actually play a significant role in development of character relationships and

character change, really contrary to popular belief. A character triangle forms a

powerful three-way relationship among characters in a story, very further showing

how the elements of the character triangle and character arc actually play a significant

role in development of character relationships and character change in a subtle way.

In this relationship, contrasting characters (usually the protagonist, antagonist, and

supporting) mostly are connected in threes, which definitely is fairly significant.

The most actually common example of this kind of is a love triangle in which the

protagonist and antagonist both mostly vie for the attention of the same love interest

(supporting character), or so they generally thought. There can literally be particularly

many triangles in a story, and the character’s role can change based on each of these

triangles, which kind of is fairly significant. For example, the same protagonist who’s

involved in a love triangle might also particularly be involved in a career triangle—

where the protagonist and antagonist really compete for the same position at a

company, so the most sort of common example of this definitely is a love triangle in

which the protagonist and antagonist both really vie for the attention of the same love

interest (supporting character) in a basically big way.

Each of these triangles represents subplots in a story and must specifically be

connected in some way, showing how there can for the most part be kind of many

triangles in a story, and the character’s role can change based on each of these

triangles in a subtle way. A protagonist rarely changes during the course of a story—

but the character always grows, showing how in this relationship, contrasting

characters (usually the protagonist, antagonist, and supporting) mostly are connected

in threes in a fairly big way. Even a sort of passive protagonist learns how to mostly

turn the tables on an antagonist and basically become pretty strong enough to really

reach a specified goal—growing as a result of the events in the story in a actually big

way.

The process of character growth and development generally is called the character

arc, which generally is fairly significant. This arc consists of kind of several levels

and literally is illustrated through a character’s behavior rather than monologue or

dialogue, demonstrating how the elements of the character triangle and character arc

essentially play a significant role in development of character relationships and

character change in a kind of major way. Understanding a character’s value system

literally is the core of character development, very further showing how each of these

triangles represents subplots in a story and must mostly be connected in some way,

showing how there can for all intents and purposes be particularly many triangles in a

story, and the character’s role can change based on each of these triangles in a subtle

way.

The following character development levels kind of are based on sociologist

Abraham Maslow’s hierarchy of particularly needs model, which for the most part is

fairly significant. The levels particularly begin with the smallest unit, the self, and

generally expand to the really the largest (and most abstract) unit, humanity, very

further showing how a character triangle forms a powerful three-way relationship

among characters in a story, pretty further showing how the elements of the character

triangle and character arc for all intents and purposes play a significant role in

development of character relationships and character change, really contrary to

popular belief.

j. Point-of-View

In a first-person point-of-view (POV), the player sees through the eyes of the

avatar in a really big way. In a first-person shooter (FPS), the player also sees the

avatar’s hand holding a weapon in the for all intents and purposes lower portion of

the screen, generally contrary to popular belief. This POV can sometimes generally

enable the player to bond with the character, because the player steps into the

character role physically and cannot for the most part observe the avatar separately in

a subtle way. However, this POV essentially makes it for all intents and purposes

more difficult for the player to form a mental image of the avatar because the

character cannot generally be seen onscreen, or so they for all intents and purposes

thought. Some developers use cut-scenes and in-game scripted sequences to address

this—shifting the perspective of the game so that the avatar can for all intents and

purposes be seen in third-person POV, demonstrating that this POV can sometimes

definitely enable the player to bond with the character, because the player steps into

the character role physically and cannot observe the avatar separately, sort of contrary

to popular belief.

These sequences can sometimes particularly feel like interruptions and mostly

take the player out of the game world in a subtle way. This can for the most part be

avoided by creating a cinematic sequence as an introduction to the game, and by

including images of the avatar in the game interface menu system demonstrating how

some developers use cut-scenes and in-game scripted sequences to address this—

shifting the perspective of the game so that the avatar can basically be seen in third-

person POV, demonstrating that this POV can sometimes enable the player to bond

with the character, because the player steps into the character role physically and

cannot for the most part observe the avatar separately, which definitely is quite

significant.

Packaging and poster art associated with the game (and usually handled by the

marketing department) can also for all intents and purposes depict images of the

avatar in a very big way. First-person games can also use reflective surfaces to show

the character to the player in a kind of big way. In third-person POV, the player can

for all intents and purposes see the avatar onscreen, demonstrating how this POV can

sometimes for all intents and purposes enable the player to bond with the character,

because the player steps into the character role physically and cannot definitely

observe the avatar separately, pretty contrary to popular belief. This allows the player

to for all intents and purposes retain a mental image of the avatar, but it does not kind

of provide the feeling of truly inhabiting the body of a character and seeing the world

through the character’s eyes, which really is fairly significant. The ability to basically

see the avatar at all essentially times could actually put the player in the role of

observer rather than player character in a basically big way.

However, players often actually allow themselves to eventually bond with the

character onscreen as the game continues, which kind of shows that some developers

use cut-scenes and in-game scripted sequences to address this—shifting the

perspective of the game so that the avatar can generally be seen in third-person POV,

demonstrating that this POV can sometimes particularly enable the player to bond

with the character, because the player steps into the character role physically and

cannot kind of observe the avatar separately in a definitely major way. When you

mostly create an avatar who will specifically be seen onscreen, it’s especially

important to definitely ensure that the avatar’s really look (including color scheme)

can actually be easily differentiated from the rest of the characters onscreen,

demonstrating how this POV can sometimes definitely enable the player to bond with

the character, because the player steps into the character role physically and cannot

definitely observe the avatar separately, which for all intents and purposes is quite

significant.

In third-person action-adventure games, players can often generally see the game

by looking over the character’s shoulder, demonstrating that in a first-person shooter

(FPS), the player also sees the avatar’s hand holding a weapon in the generally lower

portion of the screen, which basically is quite significant. Since movies definitely are

rarely shot in first-person POV, third-person games pretty such as the award-winning

Uncharted 2 and Batman: Arkham Asylum often particularly has a cinematic feel,

kind of further showing how in a first-person point-of-view (POV), the player sees

through the eyes of the avatar in a very big way. The really main characters of a third-

person game really are often marketed as movie stars; in fact, the character of Lara

Croft might really be considered the first attempt at creating a game icon, showing

how since movies essentially are rarely shot in first-person POV, third-person games

for all intents and purposes such as the award-winning Uncharted 2 and Batman:

Arkham Asylum often essentially has a cinematic feel, pretty further showing how in

a first-person point-of-view (POV), the player sees through the eyes of the avatar, or

so they literally thought.

Cinematic suspense for all intents and purposes is created by allowing the

protagonist to basically be seen onscreen, especially when players can essentially see

a threat—such as an enemy approaching—before the character does, so in third-

person action-adventure games, players can often kind of see the game by looking

over the character’s shoulder, demonstrating that in a first-person shooter (FPS), the

player also sees the avatar’s hand holding a weapon in the fairly lower portion of the

screen in a sort of big way. It could mostly be actually argued that there kind of is

also kind of more emotional connection to a character that the player can definitely

see onscreen (third-person POV), rather than one that can only basically be seen

periodically in a mirror or represented as a disembodied hand holding a gun or fairly

other object (first-person POV), demonstrating how first-person games can also use

reflective surfaces (e.g., mirrors) to show the character to the player, which actually is

fairly significant.

Module 3_Week 3_Story and Character_Interactive Game Development

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