Writing Strategies.
This fame did come with a price though, as SEGA, a rival game development company decided to take on the giant via aggressive marketing and smart campaigns, this led way to the Genesis (Also known as the Megadrive in most places outside the USA) and also the creation of Sonic, he was designed with marketing with mind, he was 'rad', ran around without a care in the world and lived up to what made the 90's so memorable. As technology advanced we got better graphics with the SNES (Super Nintendo Entertainment System) we got 3D graphics with the N64, Dreamcast and Playstation, we then got motion controls with the Wii, Kinnect and Playstation Move. All these consoles brought along their fair share of fads (Motion Controls as an example) while introducing staple classics like rumble and Internet connectivity. This evolution in data and power meant that game developers had to evolve many different writing strategies to cope with the restrictions and freedoms they have access to, an nes game has very little space meaning that stories had to be simple and quickly told so more space can be saved for gameplay and content. On the other hand a high end console has plenty of space meaning the author has to know when and where to add dialogue so the player stays entertained and doesn't get bored.
Forms of Storytelling and Game Genres.
There are many forms of storytelling, from books, videos, recordings and so much more, video games can also be an excellent way of storytelling, depending on the genre, a game can tell an almost limitless amount of tales and adventures. The reason video games work well for pretty much every genre is because they can combine several mediums, they can be a text adventure game, or a sound based game, or a full blown horror survival. A game can tell a story in many other ways, not dependant on its genre, for example a game can have a narrator that explains and/or reads out the story to the player, a cutscene between characters can give insight to the goal of the story, a game can even tell a story without even 'telling' it, by letting the player observe the world and make up their own head-canon. The combinations are limitless and can aid in creating a more specialised experience.
Approaches to Storytelling.
A great approach to storytelling seen in video games is the thought-provoking gem 'Braid'. This puzzle-platformer has a non-standardised approach to presenting its theme and message, it warps them so they can only be read by those who seek them. The story is deceptively simple almost cliché, you are a guy in a suit, tasked with exploring wondrous lands while trying to find stars and solving puzzles via time travel. By beating the game normally you will get a rather classic and stereotypical ending, you and a princess work together to solve a final puzzle, you then reach her and time starts to go in reverse, you go back in time and then the game ends. When this game was released it was a hit, people trying endlessly to figure out its secrets, one of the questions people wondered was why the title screen had a burning city. It was discovered that some levels had extremely cryptic puzzle pieces that can be collected, by collecting them all the ending changes, this time the princess is running away from the player and the player has to chase after her, after reaching her the sound of a time bomb can be heard and the screen goes white, then returns to the main menu, back to the ruined burning city. People speculate that this game tells the story of a man who planted an explosive in a city, the story of how he ruined young and innocent lives (signified by the princess) and how he wishes he could turn back time and never have done what he has done.
All this symbolism and secretism is reminding me of another game, a psychological adventure platformer called Psychonauts. This game has you literally entering people's minds and exploring worlds reeking of symbolism and emotion. Visual representations of traits, emotions and events all told via world building and clever design, like camouflaged puzzle pieces. Unlike Braid though, this game thrives on slowly drip-feeding the player with information so they stay entertained and curious. Instead of the incredibly insane and humanly impossible to find puzzle pieces this knows how to lead a player without it feeling like hand-holding. An example of the pure brilliance at work here can be seen by obtaining luggage that cries (or in other words emotional baggage) that will present the player with depressing and repressed memories of the people whose minds you explore in the game, not only do they count as collectables but they show more of a character than you would normally see, it gives them life and memorability that helps them stand out when compared to bland and one-dimensional characters of other games.
Representation.
A very important thing about video games is to make the player character comfortable and give them freedom of expression, least you want a highly criticized game that spawns outcry (oddly enough this is a fine way of acquiring attention to your game à la Grant Theft Auto). By letting a player have choices and influence over people, places and events you annul any risk of infuriation and boredom, as the player can take control and do things their way, a side effect of this is that a player may feel lost and confused, tempted to google for help online instead of enjoying the game. Representation can also help introduce the player to topics and thought beliefs and let them choose for themselves how they handle them.
An example game with great representation is Dragon Age: Inquisition, this fantasy, strategy, adventure game features plenty of charismatic and well developed characters with their own personalities and beliefs. One example of this can be seen with the character Dorian Pavus, a human mage from the criticized Tevinter Imperium. This character joins the inquisition believing that they can redeem the horrible slavery and blood magic of the Tevinter Imperium by showing those outside it that not everyone is a blood mage. If you have high enough friendship with Dorian he will ask you to accompany him to meet his father, there you find out why he is so opposed to blood magic. His family has been bred to create the perfect mage that will rule Tevinter, at this point he reveals to the player that he enjoys "the company of men" and that when his father found out he tried to change him with blood magic. Before Dorian can storm out, his father apologises for "destroying the trust" of Dorian and curses the pride that made him hurt his son like this. Characters this detailed and thought provoking can be found all over this franchise and are seriously lacking in other games, these types of characters are enthralling, they make the player feel a connection, they make a player learn and be shaped, instead of it being the otherway around where a game serves the player's wishes.
Interactive Story.
When it comes to player interaction theres only two ways it can be handled. The story can be completely controlled by the game, the player set on a quest they cannot avoid, without any side-tracking activities. A good example of this is the Mario Bros. franchise, in these platformer games your task is almost gnawingly simple, save the princess from the evil bowser. There's no way for the player to refuse the task, there's no alternate ways to go about this task, there's no varied endings. It's just you and instructions telling you what to do, its up to the player's determination and perseverance to see these tasks done. This style of storytelling works great for non-roleplaying games as it lets a player jump in without needing much of an introduction.
The other way a story's interaction can be handled is by letting the player choose what they want to do and how they want to approach situations, this method works fantastic for RPGs as it lets the player experience different sides of the world and people they see depending on their actions, much like in real life. The downsides of this is that a player must be introduced to a lot of lore and context before they can really grasp what power and effect their choices will make. This can be seen in Fallout: New Vegas as the ways you talk to people and the choices you make ripple to other quests and locations as well, all which is then shown to you at the end of the game.
Emotional Themes.
Emotions are weapons stronger than the largest sword yet sweeter than the purest honey, they can mold you, shape you into someone better, games that have mastered the art of emotions are timeless classics, an example of such a game is "To The Moon". This sombre cry-fest of a game follows two scientists that work for a very special company, this company has the equipment to alter memories which they use to fulfill the dreams of dying people so they can pass on in peace. As the story progresses you learn more about the old man via his memory, you learn about his wife, his dreams and aspirations, his struggles and his cherished memories. This game ends on an extremely bitter-sweet note that just has to be experienced to be believed.
Another game that weave emotions is "Life is Strange" this game follows the protagonist and their friend who get mixed up in time travel. The main character has to reverse time and stop the deaths of their friends while also trying to work out what the giant cyclone approaching their town is. As the player you get accustomed to time travel as if it was nothing so when the ending kicks in and you're either forced to go back in time and let your friend die or sacrifice the town to let her life, the gut-wrenching feeling in your stomach leaves you with this game stuck in your mind for months.
A great approach to storytelling seen in video games is the thought-provoking gem 'Braid'. This puzzle-platformer has a non-standardised approach to presenting its theme and message, it warps them so they can only be read by those who seek them. The story is deceptively simple almost cliché, you are a guy in a suit, tasked with exploring wondrous lands while trying to find stars and solving puzzles via time travel. By beating the game normally you will get a rather classic and stereotypical ending, you and a princess work together to solve a final puzzle, you then reach her and time starts to go in reverse, you go back in time and then the game ends. When this game was released it was a hit, people trying endlessly to figure out its secrets, one of the questions people wondered was why the title screen had a burning city. It was discovered that some levels had extremely cryptic puzzle pieces that can be collected, by collecting them all the ending changes, this time the princess is running away from the player and the player has to chase after her, after reaching her the sound of a time bomb can be heard and the screen goes white, then returns to the main menu, back to the ruined burning city. People speculate that this game tells the story of a man who planted an explosive in a city, the story of how he ruined young and innocent lives (signified by the princess) and how he wishes he could turn back time and never have done what he has done.
All this symbolism and secretism is reminding me of another game, a psychological adventure platformer called Psychonauts. This game has you literally entering people's minds and exploring worlds reeking of symbolism and emotion. Visual representations of traits, emotions and events all told via world building and clever design, like camouflaged puzzle pieces. Unlike Braid though, this game thrives on slowly drip-feeding the player with information so they stay entertained and curious. Instead of the incredibly insane and humanly impossible to find puzzle pieces this knows how to lead a player without it feeling like hand-holding. An example of the pure brilliance at work here can be seen by obtaining luggage that cries (or in other words emotional baggage) that will present the player with depressing and repressed memories of the people whose minds you explore in the game, not only do they count as collectables but they show more of a character than you would normally see, it gives them life and memorability that helps them stand out when compared to bland and one-dimensional characters of other games.
A very important thing about video games is to make the player character comfortable and give them freedom of expression, least you want a highly criticized game that spawns outcry (oddly enough this is a fine way of acquiring attention to your game à la Grant Theft Auto). By letting a player have choices and influence over people, places and events you annul any risk of infuriation and boredom, as the player can take control and do things their way, a side effect of this is that a player may feel lost and confused, tempted to google for help online instead of enjoying the game. Representation can also help introduce the player to topics and thought beliefs and let them choose for themselves how they handle them.
An example game with great representation is Dragon Age: Inquisition, this fantasy, strategy, adventure game features plenty of charismatic and well developed characters with their own personalities and beliefs. One example of this can be seen with the character Dorian Pavus, a human mage from the criticized Tevinter Imperium. This character joins the inquisition believing that they can redeem the horrible slavery and blood magic of the Tevinter Imperium by showing those outside it that not everyone is a blood mage. If you have high enough friendship with Dorian he will ask you to accompany him to meet his father, there you find out why he is so opposed to blood magic. His family has been bred to create the perfect mage that will rule Tevinter, at this point he reveals to the player that he enjoys "the company of men" and that when his father found out he tried to change him with blood magic. Before Dorian can storm out, his father apologises for "destroying the trust" of Dorian and curses the pride that made him hurt his son like this. Characters this detailed and thought provoking can be found all over this franchise and are seriously lacking in other games, these types of characters are enthralling, they make the player feel a connection, they make a player learn and be shaped, instead of it being the otherway around where a game serves the player's wishes.
Interactive Story.
When it comes to player interaction theres only two ways it can be handled. The story can be completely controlled by the game, the player set on a quest they cannot avoid, without any side-tracking activities. A good example of this is the Mario Bros. franchise, in these platformer games your task is almost gnawingly simple, save the princess from the evil bowser. There's no way for the player to refuse the task, there's no alternate ways to go about this task, there's no varied endings. It's just you and instructions telling you what to do, its up to the player's determination and perseverance to see these tasks done. This style of storytelling works great for non-roleplaying games as it lets a player jump in without needing much of an introduction.
The other way a story's interaction can be handled is by letting the player choose what they want to do and how they want to approach situations, this method works fantastic for RPGs as it lets the player experience different sides of the world and people they see depending on their actions, much like in real life. The downsides of this is that a player must be introduced to a lot of lore and context before they can really grasp what power and effect their choices will make. This can be seen in Fallout: New Vegas as the ways you talk to people and the choices you make ripple to other quests and locations as well, all which is then shown to you at the end of the game.
Emotional Themes.
Emotions are weapons stronger than the largest sword yet sweeter than the purest honey, they can mold you, shape you into someone better, games that have mastered the art of emotions are timeless classics, an example of such a game is "To The Moon". This sombre cry-fest of a game follows two scientists that work for a very special company, this company has the equipment to alter memories which they use to fulfill the dreams of dying people so they can pass on in peace. As the story progresses you learn more about the old man via his memory, you learn about his wife, his dreams and aspirations, his struggles and his cherished memories. This game ends on an extremely bitter-sweet note that just has to be experienced to be believed.
Another game that weave emotions is "Life is Strange" this game follows the protagonist and their friend who get mixed up in time travel. The main character has to reverse time and stop the deaths of their friends while also trying to work out what the giant cyclone approaching their town is. As the player you get accustomed to time travel as if it was nothing so when the ending kicks in and you're either forced to go back in time and let your friend die or sacrifice the town to let her life, the gut-wrenching feeling in your stomach leaves you with this game stuck in your mind for months.
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