Game Development Reference
In-Depth Information
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A non-open-world Spider-Man action game featuring multiple play-
able incarnations of the iconic Marvel web-slinger. (
Spider-Man:
Shattered Dimensions
)
▪
A world-building casual mobile game based on a satirical primetime
animated TV sitcom. (
The Simpsons: Tapped Out, Family Guy: The
Quest for Stuff)
)
The point is, before there is a game story, there are always previously es-
tablished elements such as genre, core mechanics, and context. In se-
quels, remakes, and licensed games you can usually add to that list estab-
lished characters, abilities, and world. But unless it's a straight adaptation
of an existing fictional work—remember all those inevitable and generally
mediocre “movie games”?—video games generally do not start with story.
Nevertheless, the impact on the final game's story starts at the very first
moment of game conception.
As a creative lead on a game project, you have already at this early stage
made decisions that will affect the game narrative. As covered in
chapter 8
(“Team Leadership”), just by picking the game genre you begin to set ex-
pectations in your potential audience—and probably in yourself—as to
how critical narrative is going to be to the gameplay experience. These
drive other decisions down the line like dominoes.
How Much Focus on Narrative?
One of the first things you need to ask yourself regarding your game's nar-
rative elements is how important and central you believe they are to the
game's design, appeal, and success. Some questions that might help clari-
fy this for you include:
▪
Are there existing games that are similar to the one you plan to cre-
ate? If so, how prominent was each game's narrative, what methods
did their developers use to integrate and convey it, and how effect-
ive were those choices?
▪
Can this game be successful without a strong story? Can the game-
play itself carry the experience, or is narrative crucial to its perceived
quality? How much of an investment is justified?
