Game Development Reference
In-Depth Information
your narrative expert might seem to be. She knows that tugging on the
wrong card can spell structural disaster, inconsistent characterization, a
weaker narrative, and a lot of new work for herself and other team mem-
bers, at a time in the dev cycle when you might not be able to afford it.
Thus, the narrative expert on a game team is often forced into the role
of wet blanket when a “wouldn't it be cool” idea is floated—or even worse,
when some intrepid designer, artist, or animator just goes ahead and im-
plements their new idea into the game without checking first. Once life
has been breathed into the concept, it can have an unfair advantage in the
marketplace of ideas. If something looks “cool” (or “awesome,” or “epic,”
etc.), it often seems to have the power to trump almost any other consid-
erations.
If you or someone else on your team has had a “cool” idea and your
narrative champion raises concerns regarding believability, I hope you'll
remember what you read in this chapter, and give his concerns very seri-
ous consideration, instead of allowing the unstoppable freight train of
spectacle to run right over him and his protests. Because that way
lies … Michael Bay.
Final Thoughts on Believability
It's no coincidence (ahem!) that this is the longest chapter in this topic.
Maintaining the audience's suspension of disbelief through every moment
of a story is an important and very challenging task. There are so many po-
tential pitfalls—from convenient coincidences and cheap surprises to in-
consistent characterization and mindless spectacle—and with a large
group of storytellers, the risk of falling into one of these traps is compoun-
ded. It's vital that all members of the team understand the believability im-
plications of every creative decision they make.
Believe it!
