Game Development Reference
In-Depth Information
out a sniper (Point 2) blocking their path, after which the pair charges the
bunker (3), dodging enemy fire and tossing a grenade into the stronghold.
After fierce, close combat, the player and his buddy emerge victorious (4).
But as we transition into a cutscene, the “buddy” is shot in the shoulder (5)
by a sniper from outside. Suddenly the player realizes that other enemy
forces are converging. They've gone from having to invade the bunker to
now having to defend it (6)! Back into gameplay, the player must choose
(7) between firing on the incoming forces, or pulling his friend to safety.
The player chooses to save his squad mate, dragging him to cover (8),
after which the player pulls out his gun and begins firing on the incoming
soldiers (9). The enemies just keep coming but the player manages to cut
them all down just before they breach the bunker (10). Back into cutscene,
the player sees that his friend is losing blood and needs medical attention
(11). The player is given a new objective: find a medical kit (12).
The emotion map helps make clear what we want the player to feel dur-
ing each of these turning points. This can be used by everyone involved in
crafting this experience, and is especially helpful to Audio (which we'll
cover in more detail in
chapter 14
) team members.
Bottom line: there needs to be a guide that indicates in some way
what
emotion
, and
when
.
Ludonarrative Harmony
This topic has been covered in several other chapters, but it bears revisit-
ing at this point. Missions are generally composed of a series of tasks and
challenges presented to the player. The player is asked or is required to
do
something. And even during noninteractive story sequences such as
cutscenes, the player character is often seen making decisions and taking
action. As the story is told via mission happenings both pre-crafted and
procedural, instances of ludonarrative dissonance can be more likely to
rear their ugly (if sometimes subtle) heads.
It's important to keep in mind at all times, especially while coming up
with mission objectives and events, that the following three motivations
should always be as closely aligned as possible:
▪
What does the player want?
▪
What does the player character want (in the fiction)?
