Interactive Storytelling Techniques

[Thaius]

Most of us have come to a pivotal point in a game's story where the developers did something special. Something that could not have been done in any other medium. There are many different ways to use interactivity to enhance a storytelling experience in ways that could not have been done without it. It's what makes this medium so great.

So, my question to you Escapists is: what are your favorite interactive storytelling techniques? When and where have they been used? What makes it so great?

My personal favorite is one I call Interactive Inevitability, where the player is put in a situation where they have control, but ultimately cannot stop an event from happening. My favorite example is at the end of Shadow of the Colossus. If you don't know what I'm talking about, play that game. A twist on the formula would be the scene in Andrew Ryan's office in Bioshock; not quite the same, but similar in concept.

IMPORTANT: If you are going to describe specific examples, even if they are not technically story spoilers (but especially if they are), put it in spoiler tags. It's much better for the player to experience these moments themselves than to have them explained to them first.

 

[MrDumpkins]

There are a few moments in mass effect where you have to make huge game changing moments that won't just carry through the end of the game, but also to the next mass effect game, I don't think any other medium has this, not even choose your own adventure stories.

Not so sure what you would call it other than "Consequential Choices"

Also, yeah, that shadow of the colossus thing was awesome, I'm really glad they did something similar in Halo: Reach's ending as well.

 

[Zhukov]

Spoiler: The climax of Mass Effect 2.

In the grand climax of Mass Effect 2, I loved how any character could die depending on the player's choices. It made me feel responsible for the events, rather then just being a witness to them. So, for example, if Tali were to die in that vent tunnel, that wouldn't be "just what happens in the story", it would be my fault.

It made the whole scene extremely intense and made it even more satisfying when I got everyone through alive.

Spoiler: Shadow of the Colossus.

Shadow of the Colossus starts off with a fairly standard narrative. Brave young hero off to slay fearsome beasts to save pretty damnsel (for a given value of "save"). But as you murder your way through the Colossi it slowly becomes apparent that they aren't the bad guys in this scenario. Most of them aren't exactly fearsome. Rather, they often look majestic, lonely and a bit sad. And some of them don't even attack you when you go barging into their lairs.

By the end of the game I felt like a complete bastard. I thought the whole game was a pleasingly subtle illustration of the whole "road to hell is paved with good intentions" thing.

Spoiler: Bioshock.

Bioshock. More specifically, the Big Daddies. The first time I encountered one, I expected him to attack me on sight. I was rather surprised when he and his little sister just strolled right on by. If I approached, he would just adopt a scary pose, roar a bit and shove me away but would never actually attack.

So of course I had to attack him. And the first thing he does is scoop up the kid and place her out of harms way. Then when I finally manage to put him down, the kid runs up and start bawling her eyes out.

Basically, I liked how the game forces you to attack and kill what are essentially benevolent and sympathetic creatures to ensure your own survival. It felt like a bit of a slap in the face. In a good way.

 

[Shade02]

Two favourites of mine which are really used in any sort of storytelling are; the Atonement with the Father, where a character must confront and be initiated by whatever holds the ultimate power in his or her life. most of the time this is the father, or a father figure who has the power of life and death. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Not always a male though, just any entity, personified or not, that holds incredible power,

Apoteosis, when someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. A more mundane way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return.

Both part of James Campbells Monomyth or Hero Story Model, currently studying it in university. Noticed the topic with the same name as the class, had a compulsion to share. Learning is fun

 

[PrinceofPersia]

I guess my favorite would have to be the old fashioned reveal. It comes directly from SW Knights of the Old Republic.

Bioware built up this story of you opposing this evil Sith Lord Darth Malak. You get captured by Malek's toady general and then as you are about to make your escape the dark lord appears before you and reveals that you are in fact his old master! I was stunned there for several minutes I just stared at the screen and the only thought going through my head was "no Freaking WAY!" suddenly I was back to being a teen and watching the Empire Strikes Back with Darth Vader proclaiming he was Lukes father.

Bioware did a good job of alluding to this reveal but when it came out I enjoyed it so much I thought later on, "Why didn't these guys do the prequels? They obviously get the plot of Star Wars and tell a better story." Ah good times.

 

[Vrach]

snip

[ spoiler]type whatever you want to hide behind spoiler tags here[ /spoiler]

Just remove the space after the first brackets

You can also write [ spoiler=whatever you want it to say ON the spoiler tags]type whatever you want to hide behind spoiler tags here[ /spoiler]

And it'll come out as:

Spoiler: whatever you want it to say ON the spoiler tags

type whatever you want to hide behind spoiler tags here

OT: Already mentioned inevitability is awesome and has a million ways of being implemented. (To a point,) it gets more awesome the more freedom you have to get to that inevitability. So you are left trying to prevent some event for example, but instead of slapping you in the face and saying no, the game lets you do whatever you want, but the end result happens anyway eventually (can't drag it out too long though, like with everything, there's a golden line)

Another one is the "finding out" storytelling thing. That's what games can do SO much better than books/movies, because the book leads the main character into finding something out and then tells you about it. Movies can let you see it for yourself, but games actually allow you to discover it "all by yourself". Used right, it's one of the most potent game-storytelling tools imo.

 

[Asdalan08]

Final Fantasy IX, You're not Alone

Spoiler

This is the scene where Zidane has had his soul ripped out and learnt of the truth behind his creation, he see's no meaning in his existance and he doesn't want his companions to have anything to do with him, after telling them all that they shouldn't follow and he'd rather be alone Dagger comes in and reminds him that they're all in this together and they'd never let him do this alone (cheesy, I know)

The scene is made truely epic by the music that accompanies it, imho.

 

[AusQB]

I always prefer the story to unfold without ever distancing you from a first person perspective, ala Half-Life, as opposed to constantly interrupting the flow of the game with cutscenes (Halo excepted). The element of interactivity is what distinguishes games from movies, and I hate when the most interesting events occur when your controller is next to you on the couch and you're taking a sip of coke. Of course this applies almost uniquely to first person games.

That said, Half-Life pretty much nails it by eliminating cutscenes and maximizing immersion.

 

[Eponet]

I guess my favorite would have to be the old fashioned reveal. It comes directly from SW Knights of the Old Republic.

Bioware built up this story of you opposing this evil Sith Lord Darth Malak. You get captured by Malek's toady general and then as you are about to make your escape the dark lord appears before you and reveals that you are in fact his old master! I was stunned there for several minutes I just stared at the screen and the only thought going through my head was "no Freaking WAY!" suddenly I was back to being a teen and watching the Empire Strikes Back with Darth Vader proclaiming he was Lukes father.

Is that really in interactive storytelling technique?

 

[AusQB]

I guess my favorite would have to be the old fashioned reveal. It comes directly from SW Knights of the Old Republic.

Bioware built up this story of you opposing this evil Sith Lord Darth Malak. You get captured by Malek's toady general and then as you are about to make your escape the dark lord appears before you and reveals that you are in fact his old master! I was stunned there for several minutes I just stared at the screen and the only thought going through my head was "no Freaking WAY!" suddenly I was back to being a teen and watching the Empire Strikes Back with Darth Vader proclaiming he was Lukes father.

Is that really in interactive storytelling technique?

lol no, it's a plot twist.

 

[illas]

I like the way "Dear Esther" provides you with narrative information: there are specific points which will trigger a monologue from the narrator but said monologue is picked randomly from several possible speaches.

The opening line, for example, is either:
"Dear Esther. I sometimes feel as if I have given birth to this island"
or
"Dear Esther. The gulls do not land here anymore..."
or
"Dear Esther. I have lost track of how long I have been here, and how many visits I have made overall."

This has two positive effects on story development, IMO. Firstly, it encourages repeat playthroughs, and can still continue to surprise after each and every one. Secondly, the player can never truly *expect* what is coming next - only vaguely *anticipate* it. This in turn creates a unique (and thus refreshing) narrative tension, where the player may know what is happening next, but he/she doesn't know the specifics.

If you've not played "Dear Esther" it's a free source engine mod, available here:
http://www.moddb.com/mods/dear-esther

 

[Yassen]

My first example is one that was already mentioned earlier about Mass Effect 2 and the suicide mission.

Spoiler: Mass Effect 2

Basically, that it is up to you to properly prepare for this mission, know your crew and what they're skills are and make all the right choices to get everyone out alive. If you fail, if you don't prepare your crew or pick someone for the wrong job then someone will die. Permanently.

In this case, YOU are the one responcible. Even if the collectors killed them they died because YOU failed, YOU might as well have been the one to pull the trigger. That is interactive story telling by making the player responcible for who lives and dies, rather than it being an inevitable outcome planned by the developers.

Another example would be the end of Halo Reach.

Spoiler: Halo Reach

Noble 6 pretty much knows he's screwed but he fights regardless. Eventually, as the hordes and hordes of covenant descend upon him, he can no longer hold out. He dies fighting. But none of that was a cutscene, that was story being told by what the player does. While most of the game was very meh that scene was a fine example of interactive story telling.

 

[PrinceofPersia]

I guess my favorite would have to be the old fashioned reveal. It comes directly from SW Knights of the Old Republic.

Bioware built up this story of you opposing this evil Sith Lord Darth Malak. You get captured by Malek's toady general and then as you are about to make your escape the dark lord appears before you and reveals that you are in fact his old master! I was stunned there for several minutes I just stared at the screen and the only thought going through my head was "no Freaking WAY!" suddenly I was back to being a teen and watching the Empire Strikes Back with Darth Vader proclaiming he was Lukes father.

Is that really in interactive storytelling technique?

lol no, it's a plot twist.

OH...well I stand corrected thank you. I thought it was a reveal cause of the definition: "make known to the public information that was previously known only to a few people or that was meant to be kept a secret."

And sister that was one duzzy of a secret!

 

[badgersprite]

I love it when a game gives you an insight into your character's mind, or lapses of sanity, without saying so much as a simple word, focusing on the visuals, environment and gameplay to tell you something about your character's thoughts and feelings.

I've seen three games that do this really well:

Fallout 3 does this in two places - Vault 106 and in Point Lookout. Elevated a game I already loved way above the benchmark for me.

Condemned. The flashes of gray make you wonder if Ethan is losing his mind and imagining things, or whether he really is fighting demons. Also, the level design adds a hell of a lot to the tension, as well as the melee gameplay mechanics. You're not playing an invincible dude, like you are in most games today. Great horror game.

Batman: Arkham Asylum. The Scarecrow levels in particular. Genius. Not to mention the secrets, tapes, and easter eggs scattered around the place which reveal so much about the villains we all know and love. I haven't been so in love with Batman since watching Batman The Animated Series in my childhood.