Difference between revisions of "Predetermined Story Structures"

Revision as of 09:26, 29 July 2014

Narration structures whose order presentation in a game exists before game instances begin.

This pattern is a still a stub.

Examples

Many Tabletop Roleplaying Games provides Predetermined Story Structures in the form of adventures or campaigns that consist of a series of adventures. These have detailed descriptions of locations, important characters, possible events but in most cases not the characters that players should play. Early examples of adventures are "The Keep on the Borderlands", "Rahasia", and "Ravenloft", all for Dungeons & Dragons. Well-known examples of campaigns include "Queen of the Spiders"^[1] for Dungeons & Dragons and "The Enemy Within campaign"^[2] for Warhammer Fantasy Roleplay. Live Action Roleplaying Games are often less pre-planned regarding events since coordinating these with all players poses huge practical problems but may still have a few important event planned. 1942 – Noen å stole på, Conspiracy for Good, and Trenne Byar are examples of this; Krigshjärta is an example of a LARP series where parts of previous LARPs carry on to the next ones in the series.

Adventure Games as the Myst, King's Quest, Leisure Suit Larry, The Secret of Monkey Island series are based upon telling stories. Similarly Computer-based Roleplaying Games typically contains whole stories as Predetermined Story Structures, with the Dragon Age, Elder Scrolls, Fallout, and Final Fantasy series as examples. The only have vague relations between games in the series but the Ultima and Witcher series are examples of where the stories of the games continue between individual games. In contrast Massively Multiplayer Online Games such as MUD2 and World of Warcraft have many Predetermined Story Structures in the form of quests but these are used repeatedly by different players and often completing one does not affect others besides what the direct changes in the game states do.

As books that provide players with gameplay while reading, Gamebooks^[3] like The Warlock of Firetop Mountain, Scorpion Swamp, Clash of the Princes, and the Lone Wolf series have Predetermined Story Structures.

Using the pattern

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TAKE PATTERNS AWAY FROM Narration Structures !!!!

stuff to add: Adventures Campaigns

Instances

Ultra-Powerful Events

--- Predetermined Story Structures are explicit Narration Structures that designers create before gameplay begins and are used to provide a narrative layer to gameplay. In games with Alternate Reality Gameplay, it can be used to differentiate the game from the real world. Predetermined Story Structures consist of two main parts: the important game entities in the Game Worlds and the events that are planned to occur which affect them.

Common story elements related to the physical aspects of Game Worlds include Alien Space Bats, Big Dumb Objects, Controllers, Environmental Storytelling, MacGuffins, Switches, Traces, and Traps. Clues can also be used, as long as they work within the Thematic Consistency. Games then commonly create Predetermined Story Structures by putting these in relation to how players move in Game Worlds (similar to aspects of the narrative Monomyth^[4] pattern and the "Road Movie"^[5] genre). The elements can be compartmentalized by Inaccessible Areas and Levels, while Privileged Movement (given as a New Ability and Conditional Passageways can be used to progress a game's narration by opening up new areas. While not necessarily a part of the Predetermined Story Structures, requiring Puzzle Solving at specific locations can serve the same role as Conditional Passageways; one example of this can be found in the Myst series. One-Way Travel can hinder players from spending time in areas which no more narration is supposed to take place within. Quests can motivate players to move between places in Game Worlds, as can gameplay specific goals such as Reconnaissance, Rescue, and Traverse.

Characters, especially Player Characters and Companions, are often important in planning the narration that is to take place during gameplay. This is since they both provide points of Emotional Engrossment to the players and are Agents which can act in the Game World and be the target of actions. Granting them Privileged Abilities is common as a way of distinguishing them from NPCs but these NPCs may of course also be important for planned events, for example by being Helpers or belonging to Factions. Helpers can beside moving narration forward also be used to support any Predetermined Story Structures by reminding or pointing players in the "right" direction. NPCs in general also provide possibilities for delivering [[Predetermined Story Structures] through Information Passing. Boss Monsters can be driving forces of the Predetermined Story Structures (and are often given Privileged Abilities) but games with no or limited overarching Predetermined Story Structures can use local ones to provide more substance to Boss Monsters. An issue that need to be considered when using NPCs in conjunction with Predetermined Story Structures is how to deal with their possible deaths, in some cases Invulnerabilities may be required to guarantee that they can performed their planned roles.

Scripted Information Sequences are actual actions and events that progress Narration Structures while being designed beforehand for specifically story purposes. Cutscenes do the same but does not provide players with opportunities for interaction; Quick Time Events do but unlike Scripted Information Sequences forces players to focus upon these. While Predetermined Story Structures can be built from Cutscenes among other things, individual Cutscenes are themselves Predetermined Story Structures so the patterns can instantiate each other. Many times actions and events in Predetermined Story Structures are made to foreshadow what will or may occur later on in the gameplay, i.e. Predetermined Story Structures can be designed to create Predictable Consequences and Tension in gameplay. Specific events may also be used to enforce Character Defining Actions or make players experience that they have Luck (but the latter only works if it is unexpected).

Game designs typically want to ensure that players have gameplay goals that work together with Predetermined Story Structures as well as support each other. The above note on Emotional Engrossment is one way to do this. Quests is another very common way to do this, with Main Quests being the ones that are related to the storyline players are intended to experience and Sidequests offer additional material for those players that either simply wish for more narration and gameplay or want specific experiences. A third way is to let players have some say in how the story will end, which often is done through providing players with a Selectable Set of Goals that corresponds to the different ends possible in the story (the Fallout series and Witcher series are two examples of this). Gain Competence goals typically can combine gameplay goal of improving one's position in the game with narrative goals, and closures of these can lead to Character Development regardless if they result in New Abilities or Ability Losses.

In contrast to Levels, Scenes allow gameplay not only to be spatially separated but also temporally separated. Persistent Game World Changes based upon story events is a way to clearly indicate development of the game narration.

Several patterns can be difficult to use with Predetermined Story Structures or make the use of these structures difficult. Unwinnable Games by their definition have no natural ending besides failure which limits which types of stories can be told through them; in addition, the potential length of them is often indefinite which is also difficult to combine with unrepetitive narration. Player Elimination or Death Consequences applied to narratively important Characters can break planned use of Predetermined Story Structures since Agents intended to perform actions may no longer be available. Giving Randomness to large part of a game design can make Predetermined Story Structures irrelevant. Procedurally Generated Game Worlds can be an example of this although this can be avoided if algorithms to create Predetermined Story Structures are part of the procedural generation process. Self-Facilitated Games puts players in power positions to ignore or modify Predetermined Story Structures, thereby questioning the predetermined aspect of the pattern. Persistent Game Worlds either make Predetermined Story Structures only useable once or only part of localized stories with no narrative consequence on the Game World at large.

Can Be Modulated By

Dedicated Game Facilitators, Detective Structures, Ephemeral Goals, Factions, Feigned Die Rolls, Freedom of Choice, Game Masters, Information Passing, Loading Hints, Melodramatic Structures, Permadeath, Persistent Game Worlds, , Red Herrings, Spawning, Summary Updates, Temporal Consistency,

Diegetic Aspects

Predetermined Story Structures is a Diegetic Pattern in the way that all patterns used in relation to it need to comply with Diegetic or Thematic Consistency if a game is that have these.

Narrative Aspects

Predetermined Story Structures is a Narration Pattern.

Consequences

Predetermined Story Structures provide games with Storytelling and Narration Structures. Since they tend to focus on the Player Characters and their Character Development, the story structures are ways of affect these. In many cases players' are pitted against the designed Characters of the Predetermined Story Structures, making the pattern create PvE gameplay. The Clues provided as part of Predetermined Story Structures can give players goals to Gain Information or Ownership of diegetic items.

Since the pattern introduces specific events into gameplay (if they are activated), it lowers players' Freedom of Choice even if this may be to create more interesting stories than would be otherwise possible (it can also modify Freedom of Choice between a number of goals by adding a narrative layers to these goals). Predetermined Story Structures may cause a game to have Predictable Consequences when players can predict future events based on what the story structures have revealed so far or when specific narrative devices such as foreshadowing as used.

This becomes more apparent when games are played several times and Predetermined Story Structures are reused; this may work against the Replayability of a game with this pattern even if Selectable Set of Goals linked to ending can motivate replays for each possible ending.

Relations

Can Instantiate

Character Defining Actions, Companions, Cutscenes, Narration Structures, Luck, Predictable Consequences, PvE, Storytelling, Tension

with Clues

Gain Information, Gain Ownership

Can Modulate

Alternate Reality Gameplay, Boss Monsters, Character Development, Freedom of Choice, Gain Competence, Player Characters

Can Be Instantiated By

Ability Losses, Alien Space Bats, Big Dumb Objects, Boss Monsters, Characters, Companions, Conditional Passageways, Controllers, Cutscenes, Environmental Storytelling, Factions, Helpers, Inaccessible Areas, Information Passing, Levels, MacGuffins, Main Quests, New Abilities, NPCs, One-Way Travel, Persistent Game World Changes, Player Characters, Privileged Abilities, Privileged Movement, Quests, Quick Time Events, Reconnaissance, Rescue, Scenes, Scripted Information Sequences, Sidequests, Switches, Traces, Traps, Traverse

Clues together with Thematic Consistency

Invulnerabilities together with NPCs

Can Be Modulated By

Dedicated Game Facilitators, Detective Structures, Ephemeral Goals, Factions, Feigned Die Rolls, Freedom of Choice, Game Masters, Helpers, Information Passing, Loading Hints, Melodramatic Structures, Permadeath, Persistent Game Worlds, Puzzle Solving, Red Herrings, Selectable Set of Goals, Spawning, Summary Updates, Temporal Consistency

Possible Closure Effects

-

Potentially Conflicting With

Freedom of Choice, Persistent Game Worlds, Player Elimination, Procedurally Generated Game Worlds, Randomness, Replayability, Self-Facilitated Games, Unwinnable Games

Death Consequences when these can apply to Characters important to the narrative

History

New pattern created in this wiki. However parts of it was taken from the pattern "Narrative Structures" from the book Patterns in Game Design^[6].

References

1. ↑ Entry for "Queen of the Spiders" on Wikipedia.
2. ↑ Entry for "The Enemy Within campaign" on Wikipedia.
3. ↑ Wikipedia entry for Gamebooks.
4. ↑ Entry for "Monomyth" on Wikipedia.
5. ↑ Entry for "Road Movie" on Wikipedia.
6. ↑ Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8.