Difference between revisions of "Scripted Information Sequences"
m (moved Scripted Sequences to Scripted Animation Sequences) |
|||
| (23 intermediate revisions by the same user not shown) | |||
| Line 1: | Line 1: | ||
[[Category:Patterns]] | [[Category:Patterns]] | ||
| − | [[Category: | + | [[Category:Narration Patterns]] |
[[Category:Needs revision]] | [[Category:Needs revision]] | ||
[[Category:Needs examples]] | [[Category:Needs examples]] | ||
[[Category:Needs references]] | [[Category:Needs references]] | ||
[[Category:Patterns created on the Wiki]] | [[Category:Patterns created on the Wiki]] | ||
| − | + | ''Preset sequences of events that take place while players can still affect gameplay.'' | |
| − | + | ||
| − | ' | + | |
| − | + | Storytelling can be difficult to use in games since the telling can come in conflict with the possibility for players to do things. [[Scripted Information Sequences]] is one way to try and combine these by have small localized series of events be presented in the game world simultaneously as players can interact with that world. The sequences may be able to interrupt but in many cases cannot be this but this does not have to rob players of gameplay agency if the sequences are placed so there are diegetic reasons for this, e.g. the events taking place on the other side of a chasm or bulletproof glass window. | |
=== Examples === | === Examples === | ||
| − | [[Half-Life]] | + | [[Half-Life]] pioneered the use of [[Scripted Information Sequences]] in [[:Category:FPS Games|First-Person Shooters]]<ref name="half-life"/>. The [[Uncharted series]] has shown that it can effectively be used also in games played through third-person views. |
== Using the pattern == | == Using the pattern == | ||
| − | [[Scripted Sequences]] is an alternative to [[Cutscenes]] that lets computer-based games present [[Predetermined Story Structures]] while still letting gameplay continue. | + | [[Scripted Information Sequences]] is an alternative to [[Cutscenes]] that lets computer-based games present [[Predetermined Story Structures]] while still letting gameplay continue. Besides the narrative aspect that wish to be told through the sequences, the main design issues with instantiating the pattern lies in how to handle the case where players may wish to either affect the [[Scripted Information Sequences]] or ignore them. Letting players affect the sequences can be done by designing them as [[Interruptible Actions]] but this may ruin the possibility to convey [[Predetermined Story Structures]]. For this reason, while at the same time not making it too obvious that players cannot affect the [[Scripted Information Sequences]], it is quite common to place them within perceivable but [[Inaccessible Areas]], e.g. through using [[Invisible Walls]]. |
| + | [[Scripted Information Sequences]] can be [[Traps]] when they threaten to make players lose [[Health]] or [[Lives]] unless they move out of the way for the events in the sequences, and this is a way to make it unlikely that players ignore the sequences. While players cannot be force to have their attention focused upon [[Scripted Information Sequences]] without it being part of gameplay - a design solution doing this is a [[Cutscenes|Cutscene]] instead - they can be encourage to view it for gameplay reasons besides the narrative reasons by placing [[Clues]] in them. | ||
| − | + | [[Quick Time Events]] have similarities to [[Scripted Information Sequences]] in that both are preset sequences of events. However, in [[Quick Time Events]] players need to react to these events or fail gameplay challenges. | |
| − | + | ||
| − | + | ||
| − | + | ||
=== Narrative Aspects === | === Narrative Aspects === | ||
| + | [[Scripted Information Sequences]] is a narration pattern so it directly relates to narrative aspects. | ||
== Consequences == | == Consequences == | ||
| + | [[Scripted Information Sequences]] is a way to present [[Predetermined Story Structures]] during gameplay, but which are even so typically [[Ultra-Powerful Events]] once they have been started. Even if this means that players may not be able to interrupt or influence the [[Scripted Information Sequences]] it still gives an amount of [[Freedom of Choice]] compared to [[Cutscenes]] in that one either can choose to at least explore other parts of [[Game Worlds]] while the animations are shown (if the sequences does not force players to react to it) or is part of gameplay. Given this [[Freedom of Choice]] and the fact that the [[Scripted Information Sequences]] are located at specific points in the [[Game Worlds]] when they are enacted makes them a form of active [[Environmental Storytelling]]. | ||
| − | + | If players can note that the sequences are scripted, this can hurt any [[Exaggerated Perception of Influence]] they may have. Also, while [[Scripted Information Sequences]] can be used to make [[Algorithmic Agents]] express their [[Own Agenda]], this display of [[Own Agenda]] by [[Non-Player Characters]] can be compromised if the game has [[Replayability]]; this since seeing a [[Scripted Information Sequences|Scripted Information Sequence]] several time reveals the artificial nature of the [[Non-Player Characters]]. | |
| − | [[ | + | When combined with as-of-yet not detected [[Invisible Walls]], [[Scripted Information Sequences]] can simultaneously support [[Narrative Engrossment]] and [[Spatial Engrossment]] since they can place player spatially in the immediate proximity of unfolding events. Although [[Scripted Information Sequences]] typically take place where players can give them their full attention, the pattern can be used to modulate [[The Show Must Go On]] by requiring [[Attention Demanding Gameplay]] and thereby require players to engage in [[Attention Swapping]]. The [[Scripted Information Sequences]] that are [[Traps]] have [[Attention Demanding Gameplay]] by themselves. |
| + | == Relations == | ||
=== Can Instantiate === | === Can Instantiate === | ||
| + | [[Environmental Storytelling]], | ||
[[Freedom of Choice]], | [[Freedom of Choice]], | ||
| + | [[Own Agenda]], | ||
[[Predetermined Story Structures]], | [[Predetermined Story Structures]], | ||
| + | [[Traps]], | ||
[[Ultra-Powerful Events]] | [[Ultra-Powerful Events]] | ||
| + | |||
| + | ==== with [[Invisible Walls]] ==== | ||
| + | [[Narrative Engrossment]], | ||
| + | [[Spatial Engrossment]] | ||
==== with [[The Show Must Go On]] ==== | ==== with [[The Show Must Go On]] ==== | ||
| + | [[Attention Demanding Gameplay]], | ||
[[Attention Swapping]] | [[Attention Swapping]] | ||
| + | |||
| + | ==== with [[Traps]] ==== | ||
| + | [[Attention Demanding Gameplay]] | ||
=== Can Modulate === | === Can Modulate === | ||
| Line 46: | Line 56: | ||
=== Can Be Modulated By === | === Can Be Modulated By === | ||
| + | [[Clues]], | ||
| + | [[Inaccessible Areas]], | ||
| + | [[Interruptible Actions]], | ||
[[Invisible Walls]] | [[Invisible Walls]] | ||
| Line 54: | Line 67: | ||
[[Exaggerated Perception of Influence]] | [[Exaggerated Perception of Influence]] | ||
| − | [[Own Agenda]] | + | [[Own Agenda]] in games that are also intended to have [[Replayability]] |
== History == | == History == | ||
| Line 60: | Line 73: | ||
== References == | == References == | ||
| − | - | + | <references> |
| + | <ref name="half-life">Wikipedia [http://en.wikipedia.org/wiki/Half-Life_(video_game) entry] for the game Half-Life.</ref> | ||
| + | </references> | ||
== Acknowledgements == | == Acknowledgements == | ||
| − | + | Jonas Linderoth | |
Latest revision as of 08:22, 2 September 2014
Preset sequences of events that take place while players can still affect gameplay.
Storytelling can be difficult to use in games since the telling can come in conflict with the possibility for players to do things. Scripted Information Sequences is one way to try and combine these by have small localized series of events be presented in the game world simultaneously as players can interact with that world. The sequences may be able to interrupt but in many cases cannot be this but this does not have to rob players of gameplay agency if the sequences are placed so there are diegetic reasons for this, e.g. the events taking place on the other side of a chasm or bulletproof glass window.
Contents
Examples
Half-Life pioneered the use of Scripted Information Sequences in First-Person Shooters[1]. The Uncharted series has shown that it can effectively be used also in games played through third-person views.
Using the pattern
Scripted Information Sequences is an alternative to Cutscenes that lets computer-based games present Predetermined Story Structures while still letting gameplay continue. Besides the narrative aspect that wish to be told through the sequences, the main design issues with instantiating the pattern lies in how to handle the case where players may wish to either affect the Scripted Information Sequences or ignore them. Letting players affect the sequences can be done by designing them as Interruptible Actions but this may ruin the possibility to convey Predetermined Story Structures. For this reason, while at the same time not making it too obvious that players cannot affect the Scripted Information Sequences, it is quite common to place them within perceivable but Inaccessible Areas, e.g. through using Invisible Walls.
Scripted Information Sequences can be Traps when they threaten to make players lose Health or Lives unless they move out of the way for the events in the sequences, and this is a way to make it unlikely that players ignore the sequences. While players cannot be force to have their attention focused upon Scripted Information Sequences without it being part of gameplay - a design solution doing this is a Cutscene instead - they can be encourage to view it for gameplay reasons besides the narrative reasons by placing Clues in them.
Quick Time Events have similarities to Scripted Information Sequences in that both are preset sequences of events. However, in Quick Time Events players need to react to these events or fail gameplay challenges.
Narrative Aspects
Scripted Information Sequences is a narration pattern so it directly relates to narrative aspects.
Consequences
Scripted Information Sequences is a way to present Predetermined Story Structures during gameplay, but which are even so typically Ultra-Powerful Events once they have been started. Even if this means that players may not be able to interrupt or influence the Scripted Information Sequences it still gives an amount of Freedom of Choice compared to Cutscenes in that one either can choose to at least explore other parts of Game Worlds while the animations are shown (if the sequences does not force players to react to it) or is part of gameplay. Given this Freedom of Choice and the fact that the Scripted Information Sequences are located at specific points in the Game Worlds when they are enacted makes them a form of active Environmental Storytelling.
If players can note that the sequences are scripted, this can hurt any Exaggerated Perception of Influence they may have. Also, while Scripted Information Sequences can be used to make Algorithmic Agents express their Own Agenda, this display of Own Agenda by Non-Player Characters can be compromised if the game has Replayability; this since seeing a Scripted Information Sequence several time reveals the artificial nature of the Non-Player Characters.
When combined with as-of-yet not detected Invisible Walls, Scripted Information Sequences can simultaneously support Narrative Engrossment and Spatial Engrossment since they can place player spatially in the immediate proximity of unfolding events. Although Scripted Information Sequences typically take place where players can give them their full attention, the pattern can be used to modulate The Show Must Go On by requiring Attention Demanding Gameplay and thereby require players to engage in Attention Swapping. The Scripted Information Sequences that are Traps have Attention Demanding Gameplay by themselves.
Relations
Can Instantiate
Environmental Storytelling, Freedom of Choice, Own Agenda, Predetermined Story Structures, Traps, Ultra-Powerful Events
with Invisible Walls
Narrative Engrossment, Spatial Engrossment
with The Show Must Go On
Attention Demanding Gameplay, Attention Swapping
with Traps
Can Modulate
Can Be Instantiated By
-
Can Be Modulated By
Clues, Inaccessible Areas, Interruptible Actions, Invisible Walls
Possible Closure Effects
-
Potentially Conflicting With
Exaggerated Perception of Influence
Own Agenda in games that are also intended to have Replayability
History
New pattern created in this wiki.
References
Acknowledgements
Jonas Linderoth
