Game Development Reference
In-Depth Information
nation of those devices, players reacted quite differently to them. Balancing narrative
explanation with player expectation is one aspect of Narrative Design.
The “normal� Writer, on the other hand, generally doesn't need to be concerned
about the mechanics of narrative delivery. When writing dialog for the characters in-
volved, Writers by and large leave it to someone else to see that those lines are properly
delivered at the appropriate time. The Narrative Designer, however, must consider
the method by which written words become in-game assets. Elaborate cinematics can
convey a wealth of story information, but not in a game without cutscenes. Internal
dialogue might be a fine method for adding depth to a protagonist, as long as he
has a voice. The importance of understanding how a game will deliver its narrative
contentcannotbeoverstated.ThisisanotheraspectofNarrativeDesign.
6.3 But What Does a Narrative Designer DO? (And Can I
Be One?)
The daily activities of a Narrative Designer can vary significantly, ranging anywhere
from high-level meetings discussing overallvisiondowntosittingalonebangingout
hundreds of generic dialog barks, and everything in between. One day you may
be helping design levels or missions, the next meeting with concept artists to discuss
visual representations of story themes, and the next working on a document outlining
the functionality of a narrative delivery feature. The work is varied and demands both
artistic and logical faculties.
There are two main forces at work within the Narrative Designer. One is an
unshakeable passion for story coupled with a thorough understanding of story me-
chanics. The other is an intimate knowledge of game design and the inherent inter-
connectivity of game systems. Simply put, games are big and complex, and when you
change one thing over in feature A, it most likely will have some unintended effect
over in feature B. Adding a layer of intricate narrative on top of an already complex
system is asking for trouble unless someone is specifically paying attention to that
narrative layer. Fortunately, such a person exists, and is embodied by the Narrative
Designer. And yes, you can be one.
Though it may seem daunting at first, especially given the wide disparity of of-
ficial responsibilities Narrative Designers may have, there's a simple mantra that can
anchor the Narrative Designer adrift in the midst of their nebulous job descriptions:
communicate, innovate, advocate. Just remember, CIA is your friend. Employing
this mantra cannot only provide you with a plan of attack as a Narrative Designer, it
can also serve as a sort of metric to gauge your own performance as one. But before
you rush off to start your life as a Narrative Designer, let's look at the CIA mantra.
•
Communicate! Communication is critical to success as a Narrative Designer.
Narrative Designers must be bold enough to make their ideas known and se-
cure enough to accept feedback of all sorts. Game narratives improve by iter-
ation, and taking the best ideas from collaborative environments will not only
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