2015-11-24 · 5 minutes
Story: Yehuda AmichaiInteractivity: sub-Q
A man doesn't have time in his life/to have time for everything.
One of the things that sets prose fiction apart from other media is its ability to piece apart the thoughts and feelings of a character in a direct, unmediated way. In prose, it’s very natural to simply peer into a character’s inner thoughts. But that’s not the only option, and in interactive writing, there are […][More]
Branching stories run naturally into the problem of combinatorial explosion. If you keep writing different variants for each choice the player could make, eventually you end up with too many branches to write or manage. Sam Kabo Ashwell calls this structure the “time cave,” and while it has been used in the past, the amount […][More]
The best kind of interactivity in a story is interactivity that resonates with its themes and characters. One useful approach to thinking about design issues is to adapt models from other genres. Even if the result doesn’t much resemble the starting point, it’s productive to have a guide to direct where you’re going. Emily Short’s […][More]
Whether we outline first, or just start writing, any prose story longer than a short vignette will break down into distinct scenes. In interactive narrative, this works a little differently: IF and games sometimes make it hard to cut from one story beat to another; stories aren’t necessarily one continuous line of events where we […][More]
This is part one of a two-part series about narrative design aimed at traditional-media writers and IF authors. First things first: What is narrative design? The real answer is that the role of “narrative designer” is relatively new in the games industry and has something of a fluid or even vague meaning. Different teams will […][More]