be able to think of everything players might try. At the very least the designer must try
to allow for different playing styles and levels of inquiry into the story-world, instead of
pigeonholing players into one way of playing the game and exploring its story. If a
designer is interested in truly interactive storytelling, it is her responsibility to make
the designer’s story flexible enough to allow it to become the player’s story as well.
Places for Storytelling............................
There are a number of ways in which a game can tell a story. Customarily, games use a
number of different storytelling devices to communicate their story, with different
games relying on some devices more than others. The type of story you hope to tell,
what technology you will be using, and the gameplay of your game will determine what
storytelling devices will work best for your project.
The simplest distinction one can make is in what context the storytelling takes
place:
- Out-of-Game: This is any storytelling that is done on the computer while the game
is running, but when the players are not actually playing the game. This includes
any cut-scenes during which players lose control of their character, such as the
cut-scenes or mission briefings that occur between levels inCommand & Conquer
or brief non-interactive sections inSuper Mario 64. - In-Game: Logically, this is the opposite of the above, and covers any storytelling
that occurs while players are actually playing the game. This includes the setting of
the game-world, the behavior of the players’ opponents, any dynamic
conversations players may have, and any interactive pre-mission planning players
may do. - External Materials: This includes any storytelling done completely outside of the
computer, such as in an introduction written in the manual or any paraphernalia
that may come with the game, such as a map or a collection of gems.
206 Chapter 11: Storytelling
ThoughMax Payneused
in-game storytelling
through its settings and
mission design, much of
the story line was
effectively communicated
through the out-of-game,
non-interactive cut-
scenes and comic book
interludes.