Charlie Roberts
IMG Year 2 Portfolio

This section of research includes the additional reading of two books I looked into for this project. The information picked out was done so due to the feeling that it may provide useful if I am to carry out the writing role for the next project.

The Ultimate Guide to Video Game Writing and Design - Flint Dille and John Zurr Platten

Chapter 1 – The influence of storytelling in a digital universe

Page 2 - “For video games, one of the biggest challenges you have as a writer is creating a compelling and engaging content that captivates the player and enhances the overall gaming experience, not distracts from it or slow it down.”
This is where the main part of problem solving will occur during this and the next project. However to solve the problem I’ll need to learn how to make content that appeals to audiences and is of a high enough level.

Page 3 – Break down the language of cinema (elements from a particular movie sequence):
Spider-Man Homecoming (2017) - https://www.youtube.com/watch?v=9c7zyojcqjk

How did the scene begin?
The scene begins with Peter / Spider-man arriving at the Washington Monument. The audience knows that this is occurring at the Washington Monument as a previous scene explains this, but also during this same scene there are different shots of the monument as Spider-Man is climbing up (so location is explained verbally and visually).

How did the scene end?
The scene ends with Peter / Spider-Man saving his friends by getting them out of the elevator. Right after all of them are safely out of the elevator, a comedic comment is made by the Spider-Suit AI (Karen), and then after a brief moment, the web holding Spider-Man snaps, sending him to fall down the elevator shaft.

Cinematic language tricks that were used.
The conversation between Spider-Man and Karen (the suits AI) allows the audience to understand that the people stuck in the elevator are in much more danger than they think. This is also portrayed by the panic shown by Spider-Man when he finds out how little time there is before the elevator and everyone inside will fall.
Additionally by the appearance of the lift (the bright orange burn / melt marks on the ceiling), we as an audience can tell that the lift is approaching a point where it will break, and therefore everyone inside is in extreme danger.

This has given me a better understanding of the tricks that can be used. However, this was a scene from a movie, but some of the tricks would still be useful within a game, such as NPC characters running from something. This, used along with audio (people screaming and shouting in fear) could be effective, since one way the player would interpret it would be that they’re running from something dangerous. If this was to occur within a cut scene, once it ended the player would know that they either have to see what it is, or even run from it (depending on the game).

RPGs (D&D)
Page 5 - “The brilliance and main addictive quality of D & D was that it simultaneously created rules and structure for the players while also freeing their imaginations to go places and have adventures that no traditional board or military miniatures game had previously allowed.”

Page 5/6 – “But perhaps the biggest paradigm shift it created was this: you weren’t controlling the character, you were the character. The First-Person game was born.”

This would be another thing to think about when creating the game / writing the story. I would need to find ways to make the story engaging to the player; otherwise the story would most likely become a boring. One way to avoid this would be to create a story that makes use of player options. This makes the game become more engaging, since it is required the player to make options which may or may not affect the rest of the story / ending of the story or game (Much like games where there are different endings. E.g. Injustice 2, Persona 5 – research point? / reference)

Early storytelling through gameplay
Page 7 – “The original video games, Atari classics like Asteroids, Missile Command, and Centipede didn’t have a storytelling component, but they still had a narrative. The gameplay itself dictated the fiction in which the experience existed.”

Page 7 – “Although there are no cut-scenes, by simply describing the gameplay, you are in essence, defining a story for these games.”
“But these early titles focused almost exclusively on gameplay: the fusion of interaction and narrative would come later.”

There are fewer games like this in today’s age, as many games try to focus on trying to portray a story. However, these classic games that didn’t have a story are great examples of how a game doesn’t need a story to be enjoyable, but instead have a narrative. However, I feel that the game I make for the final project will require some sort of script or story. Although this helps prove that not all games need story to work.

Chapter 2 – Video Game Story Structure and Work Approach

Play it, Display it, Say it
Page 16 – “It is important to remember that your story is working in unison with gameplay. The more your story can be told through gameplay, the better.”

“If it is possible to do so, let the player have control over the key narrative moments, either by triggering them through their actions, or in fact, having the game reveal key story moments (a sidekick character is killed because the player didn’t defend him, for example).”

“In other words, when dealing with your narrative, create a priority for telling your story as follows: play it, display it, say it.”

Storytelling priority (page 16)
Using the example provided in the book, (PHOTO ON PHONE) there could be a number of ways to carry out the action of a door exploding, whether it’s due to the protagonist or not.
Using the example that a door needs to be exploded, and there are terrorists behind said door.

Gameplay – simple walk over to the door using analogue sticks and hold a certain button (e.g. □) to plant an explosive device on the door. Since the player has control during this time, as the door explodes, the player can open fire on people inside

Narrative – Player sits back and watches as an explosive is planted on the door. Once door explodes game starts and player can begin taking down the terrorists / alternatively this is also in a cut scene).

Alternative – As NPC character plants explosive, the player must hold off enemies that are attacking from another direction, and protect the NPC teammate. Once door explodes, the enemies stop spawning / appearing from behind, so enemies behind the door can become the main focus of the narrative.

I feel as the least fun for the player would be a cut scene where there is very little interactive input into what’s happening.
I feel as the most fun option for the player would be the third method, as it would keep the player occupied as the games narrative continues. Additionally, the NPC could be talking while the player was protecting them, so it’s not just a constant mindless gunfight, and there are important matters being discussed (e.g. where they need to go next, or how many enemies are on the other side of the door).

Don’t Diminish the Hero
Page 17 – “One of the biggest problems with game narratives is the fact that often times the needs of the game conflict with the needs of the story.”

“Games are about empowerment, and creating a situation in which the narrative conceit of the game puts the player in a subservient role is not a winning formula”

This effectively means that when a player plays a game, they don’t want to be repeatedly being told what to do. This also will sometimes clash with the protagonist, since it may not seem right for them to only do what they’re told, when they’re told. To avoid this when it comes to creating events for the game of the extended project, the events will need to be thought about, and planned out accordingly to suit how the main character, but also still engage the player and make them interact with the world and people (NPCs) around them.

Don’t Diminish the Hero (Page 18)
I believe that for some games there are time when talking to a character and straight up asking them for the needed information would be effective / could work. However, this isn’t to say that this is the only method that would need to be made use of, as the game would quickly become boring if it was just constant question asking and no player input / work for the information. Meaning there would need to be methods for some characters to get around this.

For this task I’ll an example of the protagonist, being the hero, and trying to sneak into a villain’s / group of bandit’s hideout. In the town with the villains secret hideout, the town could have a number of the villains group members located around the town / area of the secret hideout.

For the player to obtain the name of the person he must see / find (e.g. villain / bandit leader) the player could eavesdrop on the members of the villain / bandit group. Eventually the conversation will be revolved around the leader of the group where the name of the leader is stated.

To obtain the location of the hideout, the player must spy on patrolling members. This could be a task for the player to sneak after the members as they return to their base.
Once the bandits / villains return to their base and the player has been following, the player knows where the base is located.

For the final task, of knowing when the player must get there, a combat task could occur when the player has to encounter a lone member and fight them for the information (threaten them upon defeat). This could also work as a way to obtain entrance into the base, whether a code word is needed, or whether a uniform is needed to enter (if so, steal the persons clothes when they are defeated).

Constructing the Story - Page 18
“The best advice for story progression in a game is to design it like a roller coaster.
Consider the following elements:
•Exhilaration
•Slowing
•Building suspense
•Bigger exhilaration
•Surprise “bump”
•Huge suspense
•Final wild ride
•Victory lap
•Get off the ride”

Page 18 - “Eventually, our game story will have a beginning, middle, and an end. But unlike screenwriting, we aren’t thinking of what is happening over the course of Act One.”

“Instead, we focus on our characters, the world, and the gameplay challenges that the player will face as he accomplishes the objectives of the level. When these are firmly in place, we turn back to more traditional storytelling techniques to create the narrative arc of the game.”

If I end up writing a story driven game for this project, I will most likely attempt to follow this structure (or at least use this progression structure for reference. I feel like this would be a good plan since my current knowledge of story writing isn’t at a level where I could effectively write my own story, so by hopefully using this structure, I would be able to write something that would at least have some appeal.

Writer-Friendly Formats
Page 19 – “The more linear a game is, the more writer-friendly. Linear path games are controllable. You don’t have to think of the five thousand different things a player will do and cover every contingency. You know where he is, what he’s doing and why he’s doing it at all times.”

“The art here it to make the story compelling enough that the player keeps playing through it to see how it all comes out."
 

“The difference between linear and nonlinear stories is that a linear story drives the player through the game, and in a nonlinear story, set pieces are created that may live on or their own or, when added to other set pieces, build towards a larger unfolding narrative.”

When designing / writing the story for the final project, or this project (if I end up creating one) it will be a good idea to first discuss the different narrative types. By using a linear narrative, the process of creating the story will become easier and less confusing. However, non-linear game are becoming more popular (along with the open world genre) meaning this will need to be thoroughly discussed with the group / planned before carrying out (so the most effective narrative type can be used for the story).

Writer-Difficult Formats
Page 19 - “These formats are by their nature much less controllable. They tend to have a lot of situations in which the writer will have to write endless alts (alternatives) and fairly generic exchanges with NPCs (Nonplayer Characters).”

“In a free-flow game there are no cinematics or obvious breaks in the story. This effectively refers to an open world design in which your adventure is whatever you happen to do in the world. There is no clear sequence of events.”
 

“A consequential story offers a way of balancing free-flow and structure. The idea here is that the world is alive and remembers things and there are consequences for your actions.”
 

“In a role-playing game (RPG) you are not so much progressing through a story as trying to build up your character to better deal with the world of the game. So the journey of the character becomes the story. The problem is that you have to anticipate thousands of different kinds of alts depending on who your character is and how an NPC will relate to them.”

These types of formats will most likely be difficult to create a story for, since, as mentioned above, they require almost endless alternatives exchanges and interactions with NPCs. Because of this, it might be best to attempt a more writer friendly format, but this will need to be discussed with the group when the final project comes around.

Serial
Page 22 - “You are following a distinct story that ends in one level and then teases you at the end of the level with a cliffhanger that leads you to the next level.”

Cut-Scenes as Game and Story Drivers
Setups
Setups can consist of cut-scenes at the beginning of a level, which establishes what the player’s goal will be for the level.
Page 22 - “Narratives are often used to set up challenges that the hero will face in a particular level, or sometimes, even a set piece within the level.”

“Elaborate setups will usually involve a cut-scene at or near the beginning of the level, while a shorter one can be created in-game. Sometimes setups may be nothing more than voiceover dialogue.”

Payoffs
Payoff story drivers are ways included in the narrative to reward the player for completing a goal / to show that they have completed a goal.
Page 22 - “They are the narrative equivalent of a slap on the back. Often, they are the most visual sequences (like when the bridge blows up as our hero jumps to safety).”

“In addition to resolving issues with the story, payoffs are also a way in which we reaffirm to the player that he is accomplishing the challenges of the game.”

Autopsy
An autopsy cut-scene is where the player makes a mistake, such as dying, and ten a cut-scene is shown to show the player where the character, and themselves as a player went wrong, so they can correct this when they respawn.
Page 23 – “Narratives can also be used to show the player where he made a mistake.”

Advancement
Advancement cut-scenes are similar to those for autopsy, but instead show the player the first introduction to a new level, character, or even skill that the player can now use.
Page 23 – “advancement cut-scenes establish new worlds, or technology, or character, or weapons, or skills, etc., that the hero has earned by progressing forward through the game.”

Character Journeys
Character journey cut-scenes are those which show the player how far their character has come over the course of the game / the changes their character has undergone. It could be a scene showing the strength of the character, or even how the character has become more injured during the course of the game.
Page 23 - “In games, the player is creating the journey for his character as he plays. The story can support this with a specific scene that shows how the character is evolving, getting more powerful, or wiser, or even more damaged.”

Impart Information (Mission Briefing)
Impart information cut-scenes are scenes in which the player is told information which links to the task that they need to carry out. (“You might need to creatively tell the player what he needs to accomplish.”)  This could consist of an NPC telling the player where to go, but not what they need to do, as the player will find out what is needed to be done when getting there. Changes within the story can also be shown by these scenes. “For example, when you are exploring an underground cavern and a cave-in blocks your passage.”  

Establish Rules and Expectations
These cut-scenes are used to introduce the player to the rules of the game, which allows the player to understand the fundamentals of the game, and therefore actually know how to play.
“One of the most important things that game narratives can do is to help the player understand the rules of the game.”

“A few in-your-face narratives at the beginning of the game will set the tone for what is to follow.”

Using Dialogue to convey information
Since I haven’t carried out a project like this before, I need to learn how different methods can be used to progress the story / portray information. One of these ways is dialogue.
Page 24 - “Dialogue in games serves two major purposes: advancing story and conveying information. When it comes to advancing the story (which can have any number of interpretations from learning more about the character, to creating some interesting reveal, to setting up a gag that is paid off later) you have a lot of flexibility in how your characters will talk and interact with one another.”

Page 25 - “As you are writing your dialogue, remember that lines are there to add depth to the story, and note which lines are giving instructions to the player.”

Types of Conflict (Page 27)
I feel that before writing a story (e.g. the story for the final project / this project if I decided to create one) the type of conflict that will be included in the story will need to be thought about and discussed. But to do that I first need to know a bit about the different types of conflict that there are.

Man VS. Man
“This is the big one: protagonist versus antagonist, our hero against villain.”

“Almost all stories rely on this type of conflict. First-person shooters, third-person action-adventure, and sports games are usually centered on this type of conflict.”

Man VS. Nature
“Our hero is trapped in the wilderness, or fighting to survive in a storm, or out to kill the great white whale”

Man VS. Self
“Although not often used in games, this conflict is our hero at war with his own demons, such as addictions and phobias.”

“In gameplay terms this might be a survival horror scenario.”

Man VS. Destiny (Luck)
“Often used in Role-playing Adventures, this is our protagonist battling with his destiny.”

Man VS. Machine
“This is man In conflict with technology. Fighting unstoppable machines, usually after they’ve become self-aware, is a staple of science-fiction stories and games.”

Man VS. System
“This is or hero versus the world. Usually our protagonist is misunderstood, or a loner who “knows the truth” but can’t get anyone to believe him. This is a common theme of action-adventure games.”

Man VS. Past
“Our hero is trying to escape his past, but it keeps coming back to haunt him.”

“This type of conflict is often overused in the amnesia stories and is common in mysteries.”

The Stakes
As well as the type of conflict, I feel as it will be useful if I have a greater understanding of the different types of stakes that can be made use of within a story. These different stakes might link to / work well with different types of conflict, so I feel it would be best to learn a bit more about the different types.

Life or death
Page 28 - “The highest of stakes. When you are playing for your life, things are about as serious as they get. Most first-person games use these stakes. If there is too much damage, you’re dead.”

Wealth or poverty
Page 28 - “Greed is a powerful motivator and is something that is understandable by everyone.”

Love or loss
Page 28 - “This is more esoteric and isn’t used in games as much as it should be. It is the most emotional of stakes, and when done properly, love is probably the most compelling emotion.”

Happiness or sadness
Page 29 - “If our character starts at the bottom emotionally, his or her journey to happiness can be rewarding for us as well. To make these stakes work, we really need to be invested in our hero.”

Triumph or defeat
Page 29 - “Win the battle, win the war. Save your people, save your family… and yourself.”

Security VS. Instability
Page 29 - “Bringing chaos under control, or succumbing to outside forces.”

Jeopardy: How story elements affect tension
Time
Page 30 - “The ticking clock drives action. Time establishes the “rules” under which the characters in the story function.”

Plot
Page 30 - “This function of conflict and stakes, the intensity of both and the time in which it occurs, which generates the risk or jeopardy our hero faces, and dramatic tension we experience that forms the basis of the plot of our story.”

Character(s)
Page 31 - “Your hero(es) need not be the protagonist of the story. They can also have their own inner-tension and turmoil, not just that which is generated within the game”

World
Page 31 - “Again, this is not only the location, but also the reality in which the story takes place, e.g. Hong Kong Physics, Comedic World, Sci-Fi Oppressive, etc. The world itself will contribute heavily to the conflict.”

Tone
Page 32 - “What Is the tone of the piece? Is it light, heavy, serious, playful, black, irreverent? This is often the area where the story goes “off the rails” because a tone is set within the narrative that the player becomes comfortable with, and then something comes out of right field that throws the tone out of whack.”

Theme
Page 32 - “Underneath the game story is the theme: redemption, salvation, falling from grace, power corrupts, money can’t buy happiness, revenge. All of the clichés tend to be the big themes that fuel the story.”

“Whenever you run into a brick wall in the narrative, go back and review your theme what scenes do you need in order to advance the hero forward in a way that will deliver the theme?”

Player Expectations
Page 32 - “The pacing of the narrative should match the pacing of the game.”

“Keep dialogue as tight as possible. Avoid long expository speech like a wise old wizard who tells us lots of interesting things that we never get to see. Don’t tell what you can show. Don’t show what you can play. Backstory is important if it has direct relevance to the narrative.”

This is important since it reminds us that within a game the player will most likely want to be doing other aspects of the game then talking to a character. However, this isn’t to say that speech isn’t important, but it’s a reminder that speech should be short (if possible) and as relevant to the story as possible (or events of the story / game).

Chapter 3 – Game Story Theory and Dialogue

Dialogue in video games
Page 37 - “In short, to have great dialogue you have to have great characters talk about fascinating things, often in conflict with each other.”

Shorthand backstory wherever possible
Page 38 - “Sometimes huge amounts of backstory are covered by a visual. In You Only Live Twice, Bond shows up as a naval officer and we have reason to believe that he actually is or was one. And that’s it. Done, backstory covered. We don’t know what happened to him in the navy and it doesn’t matter.”

Live in the moment
Page 41 - “A great game is re-playable and the each replay can give the player a different experience.”
“Great gameplay is about solving problems the first time. Solving problems means making great choices and the more choices you give a player, the more addictive the gameplay becomes.”

Relationships and dialogue
Page 41 - “Good game relationships and the dialogue that builds them fully engage the players. Like anything else, the best relationships are give and take."

“Twists and turns and the dialogue that reflects them keep the game fresh.”

Avoiding stock text
Page 42 - “Repetitive situations are almost always better handled automatically and abstractly, without dialogue. The fifth time you hear the same wisecrack from the same character, the game feels stale.”

Style
Page 42 - “The more abstract the style, the more abstract the style can be.”

The present tense
Page 42 - “Game dialogue is written in the present tense. Like this. Very present time. Very tense. It’s happening right now, right here, right in front of me. See it as the viewer sees it.”

Metastory
Page 43 - “Metastory is closely related to world. It is stuff that happens on the edge of your stories, things implied, but never explicitly stated.”

Don’t wear out the F key
Page 44 - “Rough language does not instantly translate to tough narrative. Edgy is a four-letter word, too. Effective profanity can heighten action and tension, and is also useful for establishing character, but don’t overdo it.”

“Exceptions are when the characters, world, or tone can use it. Remember your audience and tune accordingly.”

Story Physics
Page 44 - “The physics of game story break down to: action/reaction/action/reaction; escalating tensions; foreshadowing and reveals.  It takes in spectacle-the use of big, glossy effects. It included reversals-nothing should go the way you expect it to.”

“Building games is like making movies in 3D. You have all of the plot, character, style, and other concerns of a movie, but you also have a technological component.”

Clichés and stereotypes
Page 45 - “There’s a reason we fall into clichés-it’s easy and, at a certain level, they work.  The problem is that they are never fresh; they always feel derivative. Writers use clichés sometimes because of laziness, sometimes because they don’t want to waste valuable real estate on seemingly unimportant things.”

“Try to surprise the audience when you can without confusing them By confusing them, we mean we’ve all seen instances when writer have gone so far out to avoid a cliché that it is difficult to figure out what the character is about. ”

Dialect: Let the actors bring something to the party
Page 46 - “In general, our feeling is that your first goal is to have clarity in the dialogue. Your average reader should be able to make it through your script without having to say the lines out loud to understand what they mean.”

“Allow your actor to bring something to the party. Your work, unlike in a novel, is written to be spoken by (hopefully) a professional actor who brings his own skills to the table. Whenever possible, allow your actors to get comfortable in the recording session and bring their own unique twists to the lines.”

Player’s relationships to the character
Page 46 - “The most obvious characters are surrogates for the player. When you play James Bond in a game, you’re presumably playing someone you would want to be.”

“In some cases, the player plays a character that is widely different than he or she, like a guy playing Lara Croft. In that case, there’s a different relationship with the character. Lara is a girl; the player is a guy. Okay, so there’s something great about being able to control a woman (no man can hope to do that in real life!)”

Consequences
Page 47 – “Some games experiment with a world that has consequences. The world watches what you do and you have to suffer the consequences of it.”

“…bear in mind that, as a game writer, you’re going to need alts for every possible relationship another character can have with you.”

Chapter 4 – Video game construction and technical strategies

Setting up the world of your game
Page 49 - “Video game storytelling primarily exists to give meaning to game play.”

“As you approach your story, remember we’re not making a movie, we’re creating context for a game.”

Page 50 – Console games are usually episodic in nature (levels) so we need multiple opponents, locations, and environments. Levels then have sub-levels and missions (objectives) throughout these areas.”

“The reality of story-driven games is that you usually have an optimal path: the spine of the game where the main action and events take place.”

“You are going to need eight different environments for a full-length game, with different locations within that environment.”

“You’re likely to need a Level Boss for each of those environments and he (or she, depending on your content) will have three types of semi-unique palookas.”

“Story and dialogue needs to be restricted to short bursts. Rarely do we have-nor do we want-long cinematics. As a general rule, cinematics shouldn’t be over a minute long unless there is a compelling reason for it.”

“Game logic is often more far-fetched than film logic because  of the structure of the medium. The player always needs an objective or challenge, so in many cases reasoning behind areas of story are flimsy.”

o the world such as a sword striking or a waterfall crashing.”

“Inorganic sound effects are game conceits: effects that tell us that we have opened up a secret doorway or have picked up a treasure star or other important item.”

Types of exposition
Page 53 - “Dramatic exposition is used to get across story elements. It divides broadly into plot, character, and world exposition.”

“Plot exposition at its worst is the endless briefing from a character…”

“Character exposition attempts to tell the player something about characters.”

“Gameplay exposition is a kind of writing that exists uniquely in games and instructional manuals.”

Chapter 5 – Building Characters

Character types (pages 65-66):
Player character (PC / Hero)
The character that the player controls when playing the game. This can often consist of multiple characters, where the player controls a character who isn’t the protagonist for a particular even in the game. (E.g. Spider-Man PS4 – Throughout the game the player controls Peter Parker, Mary Jane, and Miles Morales).
Page 65 – “Many linear games that utilize multiple characters employ forced swaps. Usually, each of the Player Characters in these games has different ferent skills sets to help you get through the experience.”

Page 66 – Player characters are the heart of your franchise. How they live, fight, behave, rebel, quest, change, grow, interact, and even die within the worlds you create will have the greatest influence on the success of your game.”

Nonplayer characters (NPCS)
The characters / creatures  that populate the game. These characters will be have some sort of relationship with the character, whether it’s ally or enemy or neutral standing.
Page 66 – "As the name implies, you cannot directly control these characters. However, you may be able to influence their actions by choices you make during gameplay.”

Types of NPCS
Ally
“An ally is a character who either helps you or has to be helped by you.”

Neutral
Page 66 – “A neutral character in the world is neither friendly nor hostile to you.”

“Neutrals give your worlds life… and establish the reality in which your game takes place.”

Enemy
Page 66 - “An enemy is a foe that will actively attempt to thwart whatever you are trying to accomplish.”

Level Bosses
Page 67 – "Unique NPCs, Level Bosses are the uber-enemies that the player will encounter throughout the game. They usually have distinctive gameplay associated with their actions.”

“They are more powerful than other enemies and may also have associated story elements attached to them.”

Player-directed characters
Page 67 – “Becoming extremely popular in Squad Combat style games and questing adventures, the Player-Directed Character(s) can be given orders by the player.”

“Player-Directed Characters function as a subset of your Player Character.”

Character rewards and punishment
Page  71 – “Rewards and punishments are truly the core compulsion of game play. They are the carrot and the stick that either lure or drive you through the experience. Since we are playing a game, by its very definition, we expect rewards (advancement, winning) and punishments (obstacles, losing). ”

Rewards: Resource, Power Ups, Information, Keys, Skills, Points, Upgrades and Add-Ons, Collectibles, Difficulty Level Unlockables, Reveal Hidden Areas or Characters, New Alliances and Allies, Game Saves, Easter Eggs.
Punishments: Progress, Capability, Time, Resources, New Enemies.

Enemy states (Pages 86-88)
Alert, Active, Hunt, Attack, Protect, Flee, Warn, Berserk, Asleep, Dead.
   
Chapter 6 – Steps to the game concept and script

Developing the story

What is the hook?
Page 89 / 90 – “Of course there is no working definition to the word hook, but it vaguely means, “What’s the thing that’s going to grab people right away?” (It originated in the music business, where it is the “catchy” thing either lyrically or musically in a song that causes you to focus on the tune.)”

What is the story?
Page 90 – “This usually boils down to a story premise (some people call it a treatment, though technically that phrase isn’t right). This short document (think two to four pages sums up your story.”

Who are your characters?
Page 90 – “These include your main characters, the player character (or characters), his friends and allies, the main (ambient) boss (typically who you defeat in the last level), level bosses (those guys you defeat at the end of every level) and, minions for all of the bosses.”

Where are the locations (and worlds)?
Page 90 – “Games are about worlds. You live or die by the world of your game.”

“The art and locations of this world obviously reflect its inhabitants.”

What is franchise?
Page 90 – “The basic meaning is: What is the thing that will make people buy Spanklords from Neptune II, III, IV and V? What makes it into a movie or TV show? What can we spin off to make another game? What makes it extensible to multiplayer and online?”

A storytelling strategy document with parameters
Page 92 – “This is a creative document that outlines what the storytelling strategy is going to be in terms of how it will apply cinematics, In game cut-scenes, voice-over, interface searching, etc. The idea here is to come to an agreement on these issues early on.”

The premise
Page 92 – “This is a short version (a paragraph to a page) of your story.”

A story synopsis
Page 92 – “Longer than the premise, perhaps about four pages. It takes the reader from the story setup to complications to resolution.”

Springboards for levels
Page 93 – “These are the basic beat (important moments) of the levels.”

Character bios
Page 93 – “Offer longer bios of many characters, shorter bios of minor characters. You may also consider doing a short bio for the world itself if it is fantastical or mythical in nature.”

Level templates.
Page 93 – “Level templates are designed to be a “net to catch ideas.” They contain an idea in its category and give it a context.”

The outline
Page 92 – “This is how the story, laid out linearly (if it is to be linear) or nonlinear if it’s a nonlinear story.”

Breakdowns
Page 93 – “These are the scenes and voice-overs broken down.”

Scriptment
Page 93 – “This is a document that lives somewhere between script and a treatment (hence the name). A scriptment is usually around twenty pages long, and may include key dialogue moments (with temp dialogue – but this can still convey the scenes in ways descriptions often can’t).”

Scripts
Cinematic scripts
Page 95 – “Your normal script document. It looks like a screenplay broken down with scene names and descriptions.”

In-game dialogue script
Page 95 – “Often as not, this comes in an Excel spreadsheet for. Make yourself familiar with Excel.”

Onomatopoeia script
Page 95 – “This may or may not be tied to the in-game script. It is endless variations of phrases lie “Ouch, that hurts!” or “Take that!” or “Is that the best you’ve got?” and includes kicking sounds, hitting sounds, etc.”

Chapter 9 – Inside the creative process

Recording and mining idea
Keeping a journal
Page 121 – “It’s a place to make note of any useful observations you’ve had.”

“It can be a repository of random ideas about characters, set pieces, dialogue, etc. that may prove useful later.”

The idea mine
Page 121 – “storage area for any interesting or worthwhile thoughts or observations.”

Page 121 – “For example, John may get an idea for an action or set piece, and not know anything about how it connects to a story.”

Page 122 – “Build a body of stock characters, set pieces, locations and dialogue that you can utilize in your work.”

Keep a game diary
Page 123 – “If you’re in it for the long haul, start keeping a diary when you’re playing games. Write down what you like and what you don’t like. Refer to it each time you start a project.  Try to capture the immediacy of what’s happening. Later on, go back and analyze it.”

Master collected notes
Page 121 – “As the writer, you need a place to collect your ideas: Your own war room… or your one-sheet of inspiration.”

“It contains all of the material that hasn’t made it into the project yet, or might never make it.”

Casting your characters
Page 130 – “Characters can be easily illustrated with an archetype.”

“Comparing your character to a well-known actor or fictional character is a way to very succinctly express a notion to people in shorthand.”

Communicating the tone of your ideas
Page 131 – “When ideas for a game and/or story are initially presented, the first emphasis is usually tone. The tone of your project should be firmly established before you get too far into the process of developing your ideas, as it will form the foundation upon which much of what is to follow is based.”

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Video Game Storytelling: What every Developer Needs to Know about Narrative Techniques - Evan Skolnick

Skolnick, E. (2014) Video Game Storytelling: What Every Developer Needs to Know About Narrative Techniques, 1st Edition, United States: (PUBLISHER?).

Chapter 2 – The Three-Act Structure
The three act structure
The three act structure is a term used to describe the different phases that are used within stories.
Page 12 – “In other words, all complete stories consist of three distinct phases: beginning, middle, and end.”

To begin with there is the introduction. This is where the world, as well as the main character(s) is established.
Page 13 – “Nearly all stories start with an introduction – a starting point before the main conflict is presented.”

The next phase of the structure is the middle. This phase of the story is where the hero starts to try and resolve the issue / conflicts that are occurring.
Page 14 – “With the initial setup complete, it’s time to start seeing what kinds of obstacles the protagonist will confront and how he’ll manage to overcome them.”

The final phase is the end / resolution, which is where the hero either resolves the conflict, which leads to a happy ending, or the hero fails to do so, and therefore leading to a sad ending.
Page 14 – “The hero makes his ultimate effort to resolve the conflict and either succeeds (happy ending) or fails (sad ending).”

Chapter 3 – The Monomyth
“While the three act structure was first documented thousands of years ago, the monomyth was conceived less than a hundred years ago by legendary American mythologist and writer Joseph Campbell, in his seminal book, The Hero with a Thousand Faces(1949)” Read this book / sections.

Archetypes
Archetype is the term used for a character or group of characters that are often used within stories.
Page 28 – “The core concept of the Monomyth is that of archetypes – a small group of highly resonant character types that we see again and again in myths and stories.”

Types of archetypes
Hero: This is, of course, the primary character you play as in a game, or follow in a story.
Page 28 – “The Hero’s primary function is to resolve (or at least attempt to resolve) the main conflict.”

Herald: The herald is the character who informs the protagonist of the conflict that is occurring.
Page 29 – “The Herald announces the main conflict, or at least Its potential, to the Hero.”
“In Star Wars, R2-D2 is the Herald, carrying Princess Leia’s urgent call for help to our Hero, Luke.”

Mentor: The Mentor is the character who helps or teaches the hero.
Page 30 – “As the name suggests, the Mentor is  a teacher and an advisor . The classic Mentor character is older than the hero, wiser, and perhaps in an earlier time could have actually been the Hero.”

Threshold / Guardian: The Threshold / Guardian is the character(s) who attempts to block the protagonists progression, and attempt to resolve the conflict.
Page 30 – “The Threshold Guardian – or in modern parlance, the Henchman – does exactly what his classical name indicates: he blocks the progress of the progress of the Hero.”

Trickster: This character, although evil sounding, is a character that beings an aspect of comedy into the story.
Page 31 – “Whether snarky, ditzy, clumsy, or flamboyant, a character embodying the Trickster archetype infuses comedy and lightheartedness when the story needs it the most.”

Shapeshifter: The Shapeshifter characters are those who are used within a story to give the player a sense of doubt and mistrust.
Page 31 – “Mistrust and misdirection are essential story elements used to keep the audience engaged and guessing what’s going to happen next.”

Villain: The villain is of course the character who is causing the conflict that the protagonist is trying to resolve.
Page 32 – “Colloquially referred to as the Villain, this is the head “bad guy” and the instigator behind the main conflict.”

Story Structure (page 32-37)
Ordinary World
The Call to Adventure
Refusal to call
Meeting with the Mentor
Crossing the First Threshold
Tests, Allies, Enemies
Approach to the Inmost Cave
The Supreme Ordeal
Reward
The Road Back
Resurrection
Return with the Elixir

Chapter 4- Characters and Arcs
The Hero
Audience Identification:
Page 38 – “The better we as the audience can relate to him, and the more sympathetic we are to his situation, the stronger the emotions the story can potentially elicit from us.”

Changes and Growth:
Page 38 – “The hero usually starts the story in a state of dissatisfaction, formlessness, and/or incompleteness, and during the course of events is changing and grows to a more satisfied, evolved, and/or complete state.”

Action:
Page 40 – “In attempting to resolve the main conflict and its resulting sub-conflicts, the Hero must take action.”

Personal, Primal Stakes:
Page 41 – “What’s at stake and why do I care? This is the question the audience is silently asking at all times regarding your story.”

Risk and Sacrifice:
Page 42 – “Being a Hero involves a willingness to take risks - usually big ones, with stakes that are intensely personal to the Hero – and being willing to face the consequences of failure.”

The Villain
Viable Challenge:
Page 44 – “The core function of a Villain is the generate the mina conflict, either directly or indirectly, as part of a larger goal.”

Blocked by Henchmen:

Page 46 – “You don’t get to generally start the video game by jumping straight to the final boss battle. You have to work your way up to it, dealing with multiple lesser enemies and obstacles over the hours of play time, before you’ve earned the right (and learned the moves!) to challenge the Villain himself.”

Desire and motivation:
Page 46 – “One of the traps writers often fall into with a Villain is to not really  think the character through beyond a very superficial level – resulting in a two-dimensional, obstacle-generating plot device, instead of living, breathing character with wants, desires, and plans of his own.”

Man with a Plan:
Page 48 – “A well-conceived Villain is no dummy, and should have concrete plans for getting what he wants.”

Thinks He’s Good:
(Page 49)

Villain as Hero:
Page 50 – “As discussed, modern, three-dimensional Villains don’t consider themselves  to be evil, or Villains. They think they are right.”

Growth and Change Optional:
Page 50 – “Unlike the Hero, who has a defining characteristic of changing and growing over the course of the story, the Villain may or may not go through any such metamorphosis.”

Directly Confronted:
Page 50 – “While for much of the story the Villain is protected by Henchmen, by the story’s climax the Hero must have the opportunity to directly confront the Villain, who very often represents the final obstacle to resulting the main conflict.”

Application to games (53-55)
Partners / Squadmates / Allies
Mentors
Named Enemies
Quest-Givers

Chapter 5 – Exposition
Page 56 – “But exposition is nothing more than this: information the audience needs in order to understand and appreciate the story.”

Chapter 6 – Believability
World Consistency
Page 75 – “Defy it regularly, and they will eventually make an unconscious determination that this story – despite your efforts to convince them of the contrary – does not take place in the real world.”

Character Consistency
Page 76 – “As part of their unspoken contract to suspend their disbelief, audience members agree to convince themselves that the characters in the story are not constructs but real people.”

The Element of Surprise
Page 88 – “No one wants to experience a story in which it’s always possible to guess what’s going to happen.”

Page 88 – “Our stories, even artificially constructed as they may be, are generally designed to feel at least as surprising as the real world does. After all, a predictable story is a boring story.”

Chapter 7 – Dialogue
The Function of Dialogue
Page 92 – “Dialogue has one main function: to convey exposition”

Character Exposition:
Page 94 – “Every character should have a unique “voice,” a specific, recognizable, and consistent way he verbally expresses himself. It should separate that character from every other one in your story.”

Emotional Exposition:
Page 95 – “As mentioned in the bulleted list above, the way characters speak provides vital clues not just about who they are, but how they are currently feeling – critical information for a storyteller to convey at all times.”

Page 95 – “As with other forms of exposition, it is preferable to show than to tell. Someone putting a fist through a wall is generally a cleaner and better way to demonstrate that character’s anger and frustration than having him describe it via dialogue.”

Gameplay Exposition:
Page 94 – “Unique to the game narrative experience is gameplay exposition – using storytelling to communicate gameplay goals, instructions, and hints.”

Chapter 10 – Game Character Development
Design
Page 130 – “Every character in a game – like every character in a story – should be there for a specific reason.”

Player Character Ludonarrative Harmony
Page 131 – “As discussed in the previous chapter, the entire game will revolve and be constructed around the player character and his verbs – what he is able to do within the confines of the game space.”