Game Development Reference
In-Depth Information
5
Design/Narrative Negotiations
The character conceptualization process is not always a one-way street,
with Narrative constantly scrambling and contorting to justify every item
on Design's checklist. Narrative conceits often come with some of their
own baggage, which may factor back into gameplay.
For example, imagine if during development of a space marine shooter,
Narrative wants to include a Luddite-type enemy character group who es-
chews the use of high-tech plasma firearms in favor of old-style,
gunpowder-based weapons. While on the surface this might seem like a
harmless concept, it could have serious implications for Design. If the
combat economy depends on having defeated enemies drop plasma
ammo for the player's plasma gun, what will happen when the player en-
counters an entire mission full of these bullet-shooters (who don't drop
compatible ammo)? Now the designers will have to either push back on
the idea, or figure out an alternate way for the player to replenish her
ammo supply during this mission.
Any negotiation process between Design and Narrative needs to begin
with both sides first acknowledging the other's legitimacy and importance.
Of course, you'd be hard pressed to find any professional game developer
who doesn't believe a successful game design is important to a title's suc-
cess. However, the same is sadly not true for Narrative. And so this is
where video game storytelling experts can sometimes find themselves on
the short end of the stick, especially when dealing with designers who are
less enthused about the idea of narrative in games.
Character Description Documents
Once Design and Narrative have settled on the main aspects and functions
of a major character as they pertain to their respective disciplines, it's time
for the rest of the team to begin bringing said character to life. However,
before that can happen, much more information needs to be generated
and documented.
