Somewhere I Belong: The Elements of a Good Game Story

The elements of a good game story can be as varied and as deep as the elements of any good novel that you pick up at the local bookstore.  However, a game story benefits from a few freedoms that can limit most novels.  Game stories can branch in multiple directions based on the players choice, they can introduce a larger number of descriptions, events, and plots without worry about a page count, and the stories can be experienced by multiple people who work together in order to finish and experience them.

Just as with a good novel, a good game story must focus on setting, character development, conflict, and resolution.  If these elements are strongly written and combined with smooth, interesting game mechanics, a great game won't be far behind.

The setting of a good game story needs to fit with the characters and contain the conflict.  The description of locales should be constant and every place, item, and character should seem like it belongs there (unless the story involves something that shouldn't be there).  Even amongst different locales with different races of beings, there should be some story element that ties every part of the setting together.  Maybe all of the characters speak the same language or Imperial Guards are present in every village from the deserts of Anduin to the ice fields of Clickspire.  A great setting readies the stage for the player and the characters he or she will control during the entirety of the game.  If it is bland or seems broken it can seriously hurt the believability of the story.

Character development in a game story can refer to the development of a single player-controlled character to the development of an entire race of beings controlled by the player.  Depending on the type of game, character development can be extremely linear, presented to the player through narrative, or deeply varied, controlled by the player through in-game choices.  In either case, the character must develop in a way that seems believable.  If that character goes in a direction that is completely unexpected, there had better be some form of explanation as to why, otherwise the player may become confused with the story.  If the player has control over the character's development, the best way to make the story good is to allow for a lot of choices.  Character's should be able to branch in several directions that will engage the player and make them feel that they are actually an active part of the story.

Conflict in a good game story needs to be compelling.  Every hero needs a goal, and that goal is usually guarded by some giant creature, on the far side of pit full of moving platforms, or at the end of a long line of enemy combatants.  Why doesn't the hero just turn away from his enemies and go home?  Why does he keep fighting?  These kinds of questions need to be answered in order to justify the conflict that the player will overcome during the game.  If the hero is doing it "just because", the game loses a chance to immerse the player deeper in the game world.

Equally as important as conflict in a good game story is resolution.  Nothing is more anticlimactic than defeating the last man threatening the world and cutting right to the credits.  A good story tells the player how the hero is received after his victory, how the game world changes, or how the characters of the world grieve for the hero's sacrifice.  Cliffhanger endings serve a purpose that all too often leads to a feeling of being cheated.  Done well, an ending will provide the closure of a great novel and leave a player sitting in their chair marveling at the amazing game they just experienced.

The Grand City of Pervima: A Story Setting

Bisected by the great Thaydin River, the Grand City of Pervima is a major city on the continent of Tryemys.  Surrounded by flat land used for farming outside of the western and southern walls, the city is bordered on the north by the Naigalan forest, and the ruins of Fort Peligos at the foot of Mount Valerian can be seen from the eastern guard towers.  Because of its location on the Thaydin River, the city is a trade hub and home to members of every civilized race on the continent. Dominant among the myriad races are the Crailin, a human offshoot that are known for their exceedingly long, nimble fingers, the bluish hue of their skin, and pupil-less eyes that change color during each of the six stages of their lives.

During the initial planning of the Grand City of Pervima, following the destruction of the Feraxid by Sidis Pervima's forces at Fort Peligos, the Crailin were consulted extensively because of their knowledge concerning the Thaydin River.  Sidis Pervima, hero and founder of Pervima, rewarded the help of the Crailin by setting aside a large swath of land inside of the marble walls for them to call home.  Few citizens of the city know, or even guess, that Lord Sidis Pervima has ruled the Grand City for nearly three thousand years.  The graves behind the Pervima manor, marking the resting place of each Lord, are empty, and Sidis must fake his death and the rise of an heir every ninety years or so through the use of his powerful magic in order to maintain the facade of a perfectly normal ruler.

The Garden of Colored Melody and the Forest of Whispered Thought

The only wild growth within the high marble walls of the Grand City of Pervima, the garden and the forest constitute three square miles of space that is surrounded by ornate silver fencing.  There are two entrances, one from the north and one from the south.  The garden acts as a buffer between the forest and the city on all sides and the great number of flowers and interesting plants draw residents of Pervima for morning strolls, afternoon naps, and lover's meetings.  Those who walk the garden during the early hours of the morning, when all is still and quiet, have reported hearing a melody, the barest whisper of a hum, that seems to sway back and forth with the wind.  Most who have heard it say that they would gladly have listened to it all day, but the noise of the city as it wakes always drowns out the soft music.  Nobody tends the garden and yet it always seems maintained; the hardiest plants for the season will appear in place of those that have withered, and anything that is picked or destroyed is replaced in its full glory the next day.

The Forest is only rarely entered.  Those who stray close to the densely packed trees often hear voices with the rustle of each branch.  Those who have entered the forest to do it harm have either returned in a state of madness or have never been seen again.

On cloudy, moonless nights, the people of Pervima have seen lights of different colors glowing amongst the garden and the forest, but talk of the Fay has discouraged all but the bravest from investigating.

Lord Pervima’s Manor

Set atop a hill that overlooks the city, Pervima Manor is the home and resting place of the ruling family of the city.  It is an impressive three story structure with a tower in the rear that looms another thirty feet above the main complex.  The expertly crafted stonework of the building is untarnished and, at dusk, can just barely be seen to glow a soft magical blue.  The steepled roof is broken only by the addition of a few chimneys that rarely issue any form of smoke.  The windows are tall and broad but dominated by heavy black drapes.  The focus of the well maintained lawn and gardens is a large fountain topped with a statue of the original Lord Sidis Pervima, founder of the Grand City of Pervima.  A plaque at the foot of the statue reads “To our Generous and Gentle Lord – A Dedication from his People."

Citizens are welcome to visit the complex at all hours and meet with officials that speak for Lord Pervima during the day.  Lord Pervima himself only holds court immediately following nightfall, which most believe is due to his busy schedule during the day.

Behind the tower of the Manor lies a plot of land that is thought to hold the remains of each Lord to have presided over the Grand City of Pervima.  Thirty headstones, each crafted from the same stone that the manor itself is made of, are arranged in five lines.  The Lords of Pervima have been well known for the privacy they maintain regarding their personal lives.  No public weddings take place, yet there is always an heir, and no one from the city has ever been invited to the funeral of a past Lord.  Most citizens overlook the peculiarity of it because every Lord of Pervima has been a gentle ruler during peace and a ferocious defender of the city in times of strife.

The Retaw Inn

Built almost entirely on top of the Thaydin River, the Retaw Inn is believed by most to be magically anchored to the small plot of land that part of the building actually occupies.  As the largest, most well supplied, and easily accessible place of refuge for those who travel by way of the Thaydin, the Retaw Inn is a constant source of light and sound within the Grand City of Pervima.  Eight stories tall and built from almost every conceivable material except for leather, each floor is offset from the floor below it in a way that makes the entire building appear to be reaching across the Thaydin to the opposite shore.

The first three floors of the inn are dedicated to food, drink, and entertainment.  Griff's Grub and Grog on the main floor is especially well known because it is the first place that visitors see, and the last place that troublemaker's see before Griff, a nine foot tall iron golem and owner of the inn, tosses them into the river through a window behind the bar.  Most visitors count this among the many available forms of entertainment at the Retaw Inn.

The other five floors are made up of visitor rooms, staff rooms, and meeting spaces.  Unique to the buildings construction, the Retaw Inn also boasts a harbor below the main floor for all but the largest ships.  This eliminates the need for long voyage sailors to carouse the streets of Pervima looking for a fine drinking establishment.

As a hub of activity on the Thaydin, the Retaw Inn is also the most lucrative center of information in all of Pervima.  Those who want news from the farthest shores need only buy a drink for somebody from a given area and they'll be sure to learn whatever it is they want to know, plus a little extra.

Jonathan's Soul

Adjudicator Gram lowered his lantern as he watched the approach of Caliph Friar and a third Order soldier he didn't recognize. The soldier raised his fist and thumped it against his chest plate.

"Probate Michaels, sir, I'm honored..."

Gram cut him off, "We've got a real big problem coming and little time.  You look particularly green, is this your first time on a Soulfield?"

The Probate nodded, "Outside of the simulators, but I scored top marks in all..."

Gram waved his hand, "Your marks don't matter."

The flame of Gram's lantern burst into brilliant white light, illuminating the red walls of an enormous cavern veined with pulsing blue tubes.  Close below the surface of a pool of motionless liquid was an object that's shimmering, flickering motion defied description.

Gram addressed the Probate, "What is a Soulfield?"

"A container inside of each human heart that..."

"And that body of liquid you see there?"

"The human's personality; this one is quite shallow, which..."

"And at the bottom?"

"The human's soul, which we protect from the Bedlam."

Gram nodded to Friar, "He knows the basics, hope he fights better than the last Probate."

Friar offered a wry smile, "What's up Gram, you said there was 'big trouble'."

Gram flattened his hand and a square of light appeared that resolved itself into the image of a young man.

"This is Jonathan, the human who's Soulfield we defend," Gram said, "His soul is being targeted for corruption, likely due to its purity and the small number of Soul Guards defending it.  It seems they aren't taking any chances with this one, they're sending the Five to corrupt it."

"Are you sure?" Friar asked.

"The Bedlam Fetcher that I put down earlier seemed certain. They will likely be led by Fillion, a fallen Soul Guard."

"Filthy betrayer," Friar spat.

"We need backup," the Probate interjected

"You are the backup." Gram shrugged.

"Three Soul Guards against the Five Bedlam Chieftains!?  That's suicide. Why wouldn't the Order send backup?"

"To them, Jonathan isn't worth much," Gram replied.

"Then why die defending the soul of a human the Order doesn't value?"

"Because, he's a good person, and I will never yield a good person to the Bedlam.  If I die to save his soul from defilement, then I die honorably.  If you cannot die for the cause, Probate, you should not be a Soul Guard.  Run, while there is still time."

"Time's up," Friar interjected casually.   

Five shapes, each a mass of darkness without definition, emerged from the wall on the far side of the cavern.

"Ah, Adjudicator Gram," said the largest.

Gram stepped forward, "Be gone from this place, Fillion. You have not, and will never, defile a soul on my watch."

"You stopped me centuries ago, Adjudicator, but now I am not alone," replied the creature, as it stepped forward into the light of Gram's lantern.

Gram set his feet and raised his lantern.

"For Jonathan!" he cried as he leapt forward into battle.

Story Driven: The Relationship Between Gameplay and Story

The relationship between gameplay and story is one that changes depending on the type of game.  For some games, like Bejeweled and Tetris, no story is really necessary.  For other games, like Super Mario and Snake Rattle and Roll, the story gets the game started and gives the player the initial push into the gameplay.  Then there are the games where the story is what drives the gameplay.  In these games the story is discovered over the course of the game and the player continues playing in order to find out what happens next.  Story is not necessary for every game, but in games where even the smallest amount of story exists, it is important that it adds an interesting element to the gameplay and that it is presented in a way that flows with the game as whole.

Depending on the type of game there are different ways to connect a story to its gameplay.  For platforming and sidescrolling games, the story can act as a container, bookending the game with an initial quest and an ending.  These games can also contain story material inside of the action itself.  In Braid, a sidescrolling platformer, the player is confronted with a number of books on pedestals before each level that tell the story of Braid’s past and why he continues to go forward.  This kind of in-game story design has the potential to immerse the player deeper into the game itself.

Real Time Strategy games usually utilize the time in between missions to relay the ongoing story.  The Command & Conquer games under the Tiberium story arc are famous for presenting live action cutscenes between the missions in order to alert the player to what is happening in the story.  These cutscenes usually take place from a first person perspective with the actors looking directly into the camera.  This makes the player feel like they are actually part of the action, immersing them in the story and creating a link between the story and the gameplay that follows the mission briefing.

Role playing games usually focus on in-game character interaction that directly links the story to the gameplay.  Players are often tasked with finding a character or enemy that is pivotal to the story and either talking to them or killing them in order to advance the game, and the story, at the same time.  Role playing games like Mass Effect 2 also make use of collectible journal entries on objects in the game world that add depth to the setting and immerse the player more fully in the experience.

There are as many ways to connect a game’s story to its gameplay as there are games.  It is important to find something that fits seamlessly with the game, does not detract from either the story or the gameplay, and further enhances the experience of the player.  After all, that’s who the game is made for.

Hardcore vs. Casual: An RPG Battle

In an ongoing quest to capture the newer audience of casual gamers, role playing games have needed to make a few small tweaks in order to be more broadly accessible.  When you come right down to it, I believe that both casual and hardcore gamers are going to want the same thing out of their role playing experience, but they are going to want it at different speeds and in different doses.  Things like choice, compelling story, interesting characters, fun combat, and stronger abilities will all be important to both types of gamers, the difference can be found in the presentation and the pacing.

Most hardcore gamers already know that a role playing game is going to consist of combat that is balanced against their characters statistics, which are augmented by their equipment and abilities.  Most hardcore RPGs consist of character menus, inventory menus, skill menus, and lots of numbers.  This kind of presentation can be overwhelming to somebody who is just getting into the world of role playing games, so, simplified statistics and inventory are the status quo for a casual RPG.

Combat is almost a definite for any role playing game.  Hardcore RPGs will consist of combat that requires strategy and a well rounded party.  Casual RPGs will probably consist of simpler combat that is more straightforward with little or no strategy necessary.  Both types of combat will need to be gratifying with exciting animations and challenging opponents.

Hardcore RPGs consist of quests that can take hours of game time to complete, with intricate puzzles that require hard-to-find pieces in order to solve them.  Casual RPGs consist of smaller quests that will allow the player to drop in and out of the game at their leisure while still managing to accomplish something with each session.

Hardcore RPGs, on the whole, require a greater time investment and less hand holding than casual RPGs, but make no mistake; players from either side of the spectrum want a fun, engaging experience with a great story and memorable characters.

Ingredients of a Role Playing Game

Now that we’ve covered the design aspects of a role playing game, we should probably cover what an RPG needs to be called an RPG.  In no particular order you will need: a setting, a story, at least one character, an adversary, a goal, a leveling system, and provocation for one character to reach that goal by defeating that adversary.

The setting, made up of time and place, should probably include some form of history as well so that it doesn’t seem like it just popped up out of nowhere, unless that’s part of the story.  The story encompasses everything that will take place during the game and should include everything that the character, the setting, and the adversary will do.  The character will be controlled by the player for the majority of the game. Players should be able to like the character or at least identify with the character.  The adversary should provide a challenge that the character has to overcome and will most likely drive the story forward by forcing the character to act or by presenting an obstacle that the character has to overcome.  The goal should be what the character strives to reach during the course of the game, whether it be the defeat of the adversary, the love of the princess (not mentioned above), or the destruction of the setting.  The goal is usually attained after a final confrontation with the adversary. A leveling system can be anything from increasing stats after a set of requirements are met, to donning new equipment that is found, dropped, or rewarded to the character. This will make a player feel that they are being rewarded for their efforts in defeating enemies, solving puzzles, or exploring.

Doesn't Feel Right Without It: The Important Design Aspects of a Role Playing Game

Role playing games require a variety of different design aspects and mechanics to be properly created, tested, and rolled into a finished product that will be enjoyable to as wide an audience as possible.  The graphics must fit the game, the sound has to roll with the action, the story has to be engaging, the characters must be believable, the combat needs to be exciting, the loot has to be rewarding, the controls need to be tight, the locales need to be fresh, the menus should be non-intrusive, the inventory system should be manageable, and the ending had better be satisfying.  With everything that goes into an RPG, it is truly spectacular when one comes out that gets everything right and provides the player with a memorable experience that they will come back to time and time again.

As a general guideline for creating an RPG, a developer should focus on the character, setting, and story design, the combat, and the controls.  The character, setting, and story need to be interesting enough to engage the player so that they want to spend time with the game.  The story needs to move the game forward at an even pace, allowing the player to feel as if they are actually part of an ongoing tale.  The characters have to be designed in such a way to make the player like them, identify with them, or want to destroy them; this is an important aspect of keeping a player engaged with the game.  The setting needs to fit the story and the characters.  It needs to be interesting, well designed, and believable.  The smallest details, like flowers in a meadow or squirrels in the trees of a forest, can lend believability to a setting and make it more interesting to play inside of.

Combat is normally a central mechanic to any role playing game.  If the player is going to be engaging in any activity repeatedly, it needs to be entertaining.  This can be achieved through visually interesting combat animation, well designed set piece battles, challenging AI, new abilities and equipment, and different enemy types.  Combat should never feel like a chore that simply connects the dots between story points.

Finally, we come to controls.  If the controls for a game are cumbersome or unintuitive it does not matter if the story or the combat is good.  Control schemes should always have the option to be remapped by the player.  No button on the keyboard should be hardwired to any given command.  The number of regularly entered commands should never exceed what a normal player can press or hold at any one time.

These are more general design elements that are necessary to make an RPG enjoyable or accessible to the greatest number of people. However, some of the design aspects of an RPG really depend on the type of player.  If you’re a player who enjoys a story driven, dialogue heavy role playing experience then you’ll probably want a developer to focus on the plot, the locales, the character design, voice acting, and interaction.  Story driven players will want enemies that are smart and powerful, puzzles that require some thought, music that fits each scene superbly, and menus that don’t disturb the story immersion.

More action-oriented players will probably want a developer to focus on the graphic experience, loud and gratifying sounds (explosions, metal on metal, crunching bones, etc), the inventory system, and loot drops.  They won’t mind spending a long time examining their items in a menu as long as they get detailed descriptions and statistics.  Action-oriented players will want their character to vanquish hordes of monsters at a time with only mildly engaging puzzles, and music that is at least different with every area.