Difference between revisions of "Predetermined Story Structures"

Revision as of 08:37, 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 ---

Predetermined Story Structures are explicit Narration Structures that designers create before gameplay begins. They 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. 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.

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. Another 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).

Ability Losses New Abilities

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.

Can Be Instantiated By

, Quests, Information Passing, Main Quests, Sidequests,

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

Interface Aspects

Narrative Aspects

Predetermined Story Structures is a Narration Pattern.

Consequences

Predetermined Story Structures provide games with Storytelling and Narration Structures. In many cases players' are pitted against the designed Characters of the Predetermined Story Structures, making the pattern create PvE gameplay.

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. 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.

Can Instantiate

Character Defining Actions, Luck, Companions,

with Clues

Gain Information, Gain Ownership

Can Modulate

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

Potentially Conflicting With

Persistent Game Worlds, Player Elimination, Procedurally Generated Game Worlds, Randomness, Self-Facilitated Games, Unwinnable Games

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

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, 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.