Myths and legends of old are stories that were created at some point in time, whether they contain a kernel of truth or not. They are usually intended to convey some moral or life lesson to the audience. Be loyal to your king. Respect nature. Don’t cry wolf. Stuff like that.
They originate in times of oral traditions, meaning that the stories were passed down diachronically (from generation to generation) or synchronically (from storyteller to storyteller).
I know I’m not the first one to state this, but comic book heroes are our modern-day mythology.
**SPOILERS!** This article is a discussion of plot elements in a specific game, meaning that it contains major **SPOILERS!**
The Talos Principle, created by Croteam and released in 2014, had two writers on board: Tom Jubert and Jonas Kyratzes. The game is described as a first person philosophical puzzle game, and is often compared to Valve’s 2007 hit game Portal.
First of all, I think the game is amazing. I experienced a feeling – a sense of wonder and excitement, but also of contemplation and serenity – throughout the playing sessions that I only rarely get. It’s the kind of game I’d love to help create myself one day. And it’s the game I want to discuss this day. No, I don’t want to talk about the philosophy behind the game. This has been done plenty enough already. I want to break down how you as a player are guided through the narrative, and explain the craftsmanship that has gone into the way this is achieved.
This is an abstract of the talk I did at the Indie Gameleon festival on September 15, 2015; supplemented by material from a lecture I give to students.
When you’re building your game, of course you’re going to want to have a story included, right? You know how much people love game stories – not to mention all the memorable stories you personally enjoyed in your favourite game. So let’s add some story to your game!
Actually, let’s not.
Plants vs. Zombies has a story, but does anyone care?
You might not expect to hear this coming from a guy who writes stories for games, but I don’t want developers to blindly implement stories in their games. What I desire, is that we produce smarter stories, not more.
I sometimes get the feeling that we are on the verge of breaking into new kinds of narrative structures, specifically created for games. For a long time, we’ve borrowed literary, theatrical or cinematic structures, copying their story experiences and ways of progression. It’s not uncommon to find a game story script that looks exactly like a movie script. But more and more games seem to pursue narrative structures that create innovative story experiences that work best in games. As you can read elsewhere on my website, I’m a proponent of innovation in story creation, which is why I want to shed my views on this phenomenon.
Is The Order 1866 really a game or a movie in disguise? Continue reading
**SPOILERS!** This article is a discussion of plot elements in games, meaning that it contains many minor **SPOILERS!**
The title of this article is a question, with good reason. It may be a question some of you ask when confronted with someone who claims to know what a game is really about. Or maybe you ask the question when discussing what the value is of adding meaning to a game, or interpreting it. In any case, the word ‘game’ can easily be replaced by ‘film’, ‘book’ or ‘painting’. Why is adding meaning to a work of art needed? Can’t we all just keep our own interpretations to ourselves?
**SPOILERS!** This article is a discussion of plot elements in games, meaning that it contains many **SPOILERS!**
The Assassin’s Creed series is known for many things: its historical accuracy, the parkour movement system and yes, even its story. Yet few players concern themselves with the narratological finesses that Ubisoft filled their story with. I’m not just talking about the fact that all characters die at the same location and date that history dictates. No, I’m talking about some narratological techniques that cause the story structure itself to become all the more interesting.