Game Development Reference
In-Depth Information
members such as AI designers, systems designers, combat programmers,
and AI programmers.
Writing/Narrative Design
This is usually the second step in the process, though sometimes it can be
first—for example, in a licensed game with an established intellectual
property and pre-existing characters, or with a character essential to the
narrative but not to gameplay. (Though those should be kept to a minim-
um.)
Using the answers to the Design-centric questions listed above as a
starting point, the writer works to fashion a narrative conceit that:
▪
Is consistent with all Design intentions/requirements
▪
Fits into and enhances the overall story
Easier said than done. Often, there now begins a back-and-forth
between Narrative and Design, mostly with regard to the game's major
character(s), and especially the player character(s). When it comes to
game characters, there are perhaps no aspects more critical to align than
the game and narrative designs.
Player Character Ludonarrative Harmony
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. If the player character can
jump, then jumping challenges will be built into the design. If the player
character can shoot, the designers will set up objectives, scenarios, and
layouts conducive to shooting things. And so forth.
The entire narrative, too, is generally built outward from these mechan-
ics, abilities, and limitations. The game writer asks herself: Is there a way to
narratively explain and/or justify what this character will spend most if not
all of his time actually
doing
? Who is this person who mainly does this
thing?
Here's a stupid but simple (and therefore clear) example: if the only
thing the player will be able to do in the game is chop things down, then
doesn't it make the most narrative sense to put the player in the role of a
lumberjack? Or maybe a beaver?
