Index
Note: Page numbers followed by b indicate boxes; f indicate figures.
A
Additional resources, 295–296
Aidyn Chronicles: First Mage, 182
Ancients, 264
Animal Crossing, 242b
Arc the Lad, 67b
Arc the Lad II, 144b
Arcade games, 13–15
Archetypes
advantages, 84
Campbell’s archetypes, 85
definition, 293
disadvantages, 85–88
KINGDOM HEARTS II, 86b
The Best Friend, 82
The Cold, Calculating Villain, 84
The Gambler, 83
The Hardened Criminal, 83–84
The Mentor, 82–83
The Reluctant Hero, 82
The Seductress, 83
The Special Person, 82
The Veteran, 83
The Young Hero, 82
B
Best game stories
list of games, 275
storytelling style, 275–277
Borderlands, 27
Braid, 103b
THE BOUNCER, 201b
Branch, 293
Branching path stories
Choose Your Own Adventure books, 183b
creation, 184–192
decision point, 191–192
definition, 293
differentiating factor, 191
Japanese visual novel games
background images, 193–194
Choose Your Own Adventure books, 194–197
Fate/Stay Night see Fate/Stay Night
gaming, 193
hobby projects, 192–193
Kanon, 194
MangaGamer, 193
sound novels, 192–193
United States, 193
player-driven storytelling, 121
schedule and budget, 192
story nodes, 182
storytelling, 181f
strengths, 197–200
voice-over dialog, 182
weaknesses
creation process, 200
potential loss of impact, 200
THE BOUNCER, 201b
Buying games
all nominations, 280–281, 282f
analysis, 282–283
interactivity and freedom, 280
most important story elements, 280, 280f
personal experience, excellent stories, 279–280
C
Campbell’s archetypes, 85
Characters
actions and decisions
Mass Effect, 90–91
PlayStation 3 hit Heavy Rain, 89–90
speech, 91
backstory, 95b
databases, 96–98
MMO, 98b
NPC, 96
significance, 95–96
through in-game books, 96
thumb rule, 98
biographies, 94–95
Braid, 103b
development
archetypes see Archetypes
clichéd characters, 81
FINAL FANTASY TACTICS: THE WAR OF THE LIONS, 98b
flashbacks, 76b
Grand Argument Theory, 89b
history, 94
Magna Carta, 77–78
MDQ morphs, 77
modern day crime game, 74–76
mystery, 101–105
pacing
creation, 73–74
do’s and don’ts, 78–81
game designers, 71–73
interest curve, 73b
story learning, 74b
Xenosaga Episode II: Jenseits von Gut und Böse, 79b
personalities, 88–89
player interest, 76–77
Shadow of the Colossus, 102b
story flow and progression, 71
Colossal Cave Adventure, 16, 17b
CRISIS CORE – FINAL FANTASY VII, 118–119
Decision point, 293
Disgaea: Afternoon of Darkness
allied character, 174
crazy characters and hilarious dialog, 173f
enhanced port, Hour of Darkness, 172
love and friendship, 172–174
love and kindness, 174f
Prince Laharl’s bid, Netherworld conquering, 172f
Donkey Kong, 14b
Downloadable content (DLC), 29, 207–209
DRAGONQUEST, 3
Dues Ex, 23
Dungeons & Dragons (D&D), 235b
E
Emotional stories
CRISIS CORE – FINAL FANTASY VII, 118–119
crying, player, 111–115
drama and melodrama, 110–111
Forrest Gump, 111–112
Metal Gear Solid 3: Snake Eater, 108b
player feeling, 107
tearful scenes, 112
Emotional architect, 6b
Emotional architecture, 131b
F
Fable II
deviant behaviors, 215
good and evil scale, 216
Molyneux, designer, 214
physical gestures, 216–217
players, freedom, 214–215
Sparrow’s appearance, 215–216, 215f
time pass, players, 217
ways, task approach, 214f
Fallout 3
Capital Wasteland, 207–208, 207f
DLC, 207–209
main plot and area, player’s preferences, 209
storytelling, 27
unique and interesting characters, 208f
wasteland’s warring factions, 207–208
Fate/Stay Night
Lord of the Rings trilogy, 196
Saber’s story, 196
Shiro’s life, 195
style potential, 197
FINAL FANTASY TACTICS: THE WAR OF THE LIONS, 98b
FINAL FANTASY VII, 2–5, 3f, 23–24, 113b, 141b, 264
FINAL FANTASY X, 132b
First-person shooter (FPS), 293
Five-act story structure, 73, 73f
FMV see Full-motion video
Forrest Gump, 111–112
FRONT MISSION 3
branch, 187
characters, Kazuki’s party, 189f
Emma’s branch, 189
Kazuki’s delivery decision, 200
MIDAS, 188–189
moderate and minor branches, 190
Square Enix’s lesser-known franchises, 188
structure, degree of control, 190
warring factions and political intrigue, 188f
Full-motion video (FMV), 24, 293
Fully player-driven stories, 122, 293
Fully traditional stories
characteristics, 125–127
definition, 293
dramatic stories, 127b
Higurashi When They Cry, 128b
interactions, 127
player-driven storytelling, 120–121
storytelling styles, 127
G
Gamasutra, 295
Game Developers Conference, 295–296
Game master (GM), 3
Game stories
advantages, 42–43
classic story structure, 40
development, 39
difficulties, 43
drama, 7
drawbacks, 43
emotional architect, 6b
exploration and adventure, 2
game consoles, 5
Hero’s journey
acts, 47–48
ancient myths and legends, 46–47
civilization greatest stories, 46–47
creativity and imagination, 47
guidance, 48b
Lunar Silver Star Harmony, 56b
N64 role-playing game, 55
proto-story, 47
risk/stakes, 49–50
romantic comedy story, 46, 46f
The Call to Adventure, 48–49, 58
The First Threshold, 50–51, 58–59
interactive vs. traditional stories, 8–10
mistake, 6–7
old and new media, 6b
plot twist, 2
Super Mario Bros games, 2–5
themes and clichés
A Party of Clichés, 64–65
Arc the Lad, 67b
grizzled warrior and mysterious girl, 65–66
I am Your Father, 64
major dramatic question, 63b
Saving the World from Evil, 65
The Amnesiac Hero, 62–63
The Ancient Civilization, 65
The Evil Vizier/Minister/Aide/Lackey, 63–64
The Last of His Race, 64
usage rules, 66–68
types
character identification, 44
cut-throat business techniques, 44
designers and players, 44
drama, 42b
nonideal stories, 45
tools, 42
Universe, science-fiction game, 4
Victory Games, 4
evolution, 285
fads and new genres, 291
future development, 286–287
game industry, 290
interactive traditional stories, 285
key arguments, 286
players requirement, 286
types
budgets, 287–288
conference, Digital Narrative, 287–288
Mad Men, 288
motion controllers and 3D displays, 287–290
player-driven stories, 287
suspense, 289
writers, 290
Game writing groups, 295
Games without stories, 123
Grand Argument Theory, 89b
Grand Theft Auto (GTA) series, 218
Graphic adventure games, 18–19
Growlanser II: The Sense of Justice
best incentives, 165–166
character relationships, 165–166
game’s ending determination, 164
realistic goal, 165–166
release, United States, 164
Wein Cruz (hero), 164–165
H
Heavy Rain
characters, 198
creation, Quantic Dream, 198
Ethan’s desperation, 198–199
interesting and innovative games, 199–200
PS3 controller, 198
Higurashi When They Cry, 128b
House of Leaves, 118
I
Interactive fiction (IF) game, 16
Interactive storytelling, 293
Interactive traditional stories
creation
branching dialog, 136–137
gameplay, 135
NPC, 135–136
plot control, 134
storytelling, 136b
tone, 135b
writing, 134–135
definition, 293
degree of freedom, players, 130–134
emotional architecture, 131b
FINAL FANTASY X, 132b
Metal Gear Solid 4: Guns of the Patriots, 138b
player-driven storytelling, 121
player’s control, 130–134
strengths, 140–144
weaknesses, 144–146
International Game Developers Association (IGDA), 295, 296
J
Journey Under the Sea, 183–184
K
KINGDOM HEARTS II, 86b
L
Liberty City, 219
LinkedIn, 295
Lunar Silver Star Harmony, 56b
M
Magna Carta, 77–78
Major/main branch, 293
Mass Effect series
Bioware’s epic sci-fi series, 168
Commander Shepard, 168–169
dialog wheel, 169f
fast-paced and intense battles, 170f
hunting down, rogue Spectre, 169
images, 168f
new characters, Mass Effect 2, 170f
planet-hopping journey, 170
strong illusion of control, 171
Massively multiplayer online (MMO)
backstory, 98b
definition, 293
Guild Wars, 238–242
MMORPG, 237
player cooperation, player vs. environment, 237
story structures, 237–238
World of Warcraft
meeting of elves, Burning Crusade expansion, 240f
series of strategy games, 238–239
server design and build processes, 241
storytelling, 241
structured experience, 240–241
Wrath, Lich King expansion, 238f
Massively multiplayer online role-playing game (MMORPG), 27, 237
MDQ technique, 117–118
Metal Gear Solid, 24b
Metal Gear Solid 3: Snake Eater, 108b
Metal Gear Solid 4: Guns of the Patriots, 138b
Minor branch, 293
MMO see Massively multiplayer online
Moderate branch, 293
Multiple-ending stories, 121, 293
Bioshock, 176b
Blood Omen: Legacy of Kain, 150b, 159–163
Castlevania: Dawn of Sorrow
definition, 153
good, bad and neutral endings, 154–155
plot-heavy titles, 153–154
variety of monsters, 153f
CHRONO TRIGGER
“dream team” collaboration, 156–157
epic journey, 156f
Lavos’s awakening, 158
New Game+ feature, 156–157, 158
replay value, 158–159
time portal, 157
timing method, 163–164
twelve/thirteen endings, 159–163
unique and eccentric casts, 158f
desirability, 159
different outcomes, 151–155
extra writing and programming, 156–159
final battle/decision, 155
general warning, 175
good and evil endings, 163–166
Growlanser II: The Sense of Justice, 164b
interactive medium, 160
Macbeth’s theme, 152
non-player-driven structure, 151
return on investment, 159–160
sequels
advantages and disadvantages, 166
favorite elements, 167
Final Fantasy, 166–167
good, bad, and neutral endings, 166
Mass Effect series, 167b
story decisions, 167–171
STAR OCEAN: SECOND EVOLUTION, 160b
straight-up method, 163–164
strengths, 171–174
structure, 149f
weakness, 175
Myst, 19
N
Nintendo entertainment system (NES), 20
Nonplayer character (NPC), 135–136, 293
O
Open-ended stories
A Halloween Parade of Personalities, 211b
branches, 212
decision points, 209–211
definition, 293
distractions, 212–217
Fable II
deviant behaviors, 215
good and evil scale, 216
Molyneux, designer, 214
physical gestures, 216–217
players, freedom, 214–215
Sparrow’s appearance, 215–216, 215f
time pass, players, 217
ways, task approach, 214f
Fallout 3
Capital Wasteland, 207–208, 207f
DLC, 207–209
main plot and area, player’s preferences, 209
unique and interesting characters, 208f
wasteland’s warring factions, 207–208
Grand Theft Auto IV, 218b
interactive storytelling, spectrum, 121
large world, 205
main plot, 211–212
ravaged postapocalyptic world, 218
setting and backstory, 211
split personality, 210b
strength, 217–219
structure without sequence, 206b
The Elder Scrolls III: Morrowind
brevity and simplicity, 222
characters, 222f
epitome, 222
Nerevarine, 222
NPC, 223
players exploration, massive world, 221f
strange happenings and Empire security, 222
weaknesses, 220–223
P
Pen-and-paper role-playing games, 293
Pillars of Nosgoth, 150
Player-driven stories
AI programmers, 237
Animal Crossing, 242b
creation
actions speak louder than words, 233b
rules of interaction, 232–234
setting, 231–232
Dungeons & Dragons (D&D), 235b
hokey pokey, 234–235
inherent flaw, video games, 235
main plot, 227–231
MMOs, 237–241
setting, human nature and plot, 228
strengths, 242–243
The Sims, 229b
The Sixth Sense, 228
toy, 231b
weaknesses, 243–244
World of Warcraft, 238b
Player-driven storytelling
art form evolution
interactive nature, 249
Kojack, 248
modern dramatic forms, 248
writing, 248–249
benefits, 247
branching path stories, 121
classification, 122
Commerce Corrupts?, 251b
fine art
advantage, 255–257
game development, 256
humanity, 257
Panavision camera effect, 256
four key points, 247
fully player-driven stories, 122
fully traditional stories, 120–121
games without stories, 123
illusion of control
death, million cuts, 266b
degree of control, 265
skilled use, 265–266
interactive
CRISIS CORE – FINAL FANTASY VII, 118–119
definition, 117–118
House of Leaves features, 118
MDQ technique, 117–118
spectrum, 119–122
traditional stories, 121
visual arts, 117–118
interesting story
“max/min” player, 261
artistic merit and game development, 259
branching path/open-ended story, 260
events, 260
generic slasher/horror movie, 261–262
Harry Potter and the Sorcerer’s Stone, 259
Harry, villain, 260
loss of impact, 264–265
mistake correction, 262–263
problem with thinking, 261–262
strategy guide, 262
key points, 255
money, 250–251
multiple-ending stories, 121
open-ended stories, 121
player-character bond, 250
players enjoyment, 252–253
players requirement, 266
problematic plots, 251
time, money, and player interest
branching path story game, 258–259
creation, 257
interaction types, 257–258
minor and moderate branches, 259
writer greater freedom, 249
Players requirement
best game stories
list of games, 275
storytelling style, 275–277
buying games
all nominations, 280–281, 282f
analysis, 282–283
interactivity and freedom, 280
most important story elements, 280, 280f
personal experience, excellent stories, 279–280
demographics, 273
Earth and Beyond audience, 272–273
FPS and RPGs, 271
gameplay, 273
interactive traditional stories, 275, 277
Internet population, 270
multiple-ending and branching path stories, 277–278
players attention, game stories, 272–273
players’ storytelling preferences, 272
preferred storytelling styles, 274, 274f
research methods, 271
respondents’ top three favorite game genres, 273, 274f
Star Wars: Galaxies, 269–270
stated vs. actual preferences, 278–279
type of stories, 275
unusual/unique settings, 275
way to craft, 278
writing skill, 270–271
Point-and-click adventure games, 19
Princess-in-distress story, 15
R
Role-playing game (RPG), 150, 294
S
Saga Frontier, 258
Sandbox genre, 218
Shadow of the Colossus, 102b
Side-quest, 294
Simulations Publications, Inc. (SPI), 3
Social networking games, 28
Sony’s PlayStation, 23
Square and Enix, 20
Storytelling
“gamey” elements, 29–34
arcade games, 13–15
Borderlands, 27
bravery, 34
cinematic evolution
Deus Ex, 23
FINAL FANTASY VII, 23–24
FMV, 24
Metal Gear Solid, 24b
Sony’s PlayStation, 23
D-pad, 32–33
deadly game, 30f
discrete hint system, 27–28
DLC, 29
Donkey Kong, 14b
downloadable retro games, 29
Dragon’s Lair, 15
episodic adventure games, 27f
Fallout 3, 27
limits
artificial intelligence, 35
cost containment, 36
human moderator, 35
multiple endings, 37
MMORPG, 27
point-and-click adventure game genre, 27
princess-in-distress story, 13–15
Reaper’s game, 31–32
RPG
advantage, 20
character-driven stories, 19–20
MMO, 19
NES, 20
Square and Enix, 20–23
social networking games, 28
Spacewar, 13–15
text adventures and interactive fiction
character deaths, 16
Colossal Cave Adventure, 16, 17b
IF game, 16
Tokyo’s vibrant Shibuya district, 33f
Super Mario Bros games, 2–5
Surprise aspects, 120
Survey data
games purchased primarily, story, 302–307
top game stories, 297–302
T
The Elder Scrolls III: Morrowind
brevity and simplicity, 222
characters, 222f
epitome, 222
Nerevarine, 222
NPC, 223
players exploration, massive world, 221f
strange happenings and Empire security, 222
Traditional storytelling, 10, 294
U
Universe, science-fiction game, 4
V
Victory Games, 4
X
Xenosaga Episode II: Jenseits von Gut und Böse, 79b