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Multiplayer Games as a Template for Multiplayer Narratives: A Case Study With Dark Souls Callum Spawforth David E. Millard University of Southampton University of Southampton Southampton, United Kingdom Southampton, United Kingdom [email protected] [email protected] ABSTRACT most popular examples of IDS can be found in digital games. Ex- Interactive Digital Storytelling (IDS) is an increasingly popular amples range from emergent, simulation driven narratives (such as eld, with a number of novel systems emerging in the last few Dwarf Fortress[21]) to pre-authored, structured narratives (such as years. However, these systems have typically focused on narratives The Walking Dead[1]). involving only a single person. In contrast, multiplayer video games Most of these games are single player as opposed to multiplayer. 1 are a common and popular form of entertainment. In this paper we This is despite the huge popularity of multiplayer games , their ask whether the way in which these works might inspire a new recognised social benets[9], and ability to heighten emotional generation of multi-player narratives. responses[17]. In particular we look at the multiplayer video game "Dark Souls" A number of multiplayer games contain elements that can be and consider the goals and inter-player interactions present within considered interactive narrative experiences. For example, the Mas- the game. We then reimagine what these might look like as multi- sively Multiplayer Online Roleplaying Game (MMORPG) World of 2 player narratives, and demonstrate how they might be realised with Warcraft contains "Dungeons", in which a group of players need a sculptural hypertext approach. We conclude that even within a to overcome a highly-structured series of challenges in order to 3 single game there are a number of rich possibilities demonstrated, receive a reward. A game such as Space Station 13 oers a more from asynchronous indirect examples where the players enrich each emergent form of storytelling, where the story arises from the ac- others worlds and exchange information, to synchronous direct tions and experiences of the players. In this game, players take on examples where players have direct inuence over the choices of positions aboard a space station, with some players being desig- other players, and thus the outcomes of their stories. nated as "traitors". These "traitors" are assigned goals designed to bring them into conict with other players. CCS CONCEPTS These interactive narrative experiences can be considered a limited form of multiplayer 4 narrative experience. But the ma- • → ; • Applied computing Computer games Software and its jority of the literature in the IDS space deals with singleplayer → ; • engineering Interactive games Human-centered com- narratives[4, 5, 13, 19]. There is little research in the area of multi- → ; ; Col- puting Hypertext / hypermedia Collaborative interaction player narratives, despite the opportunities that it oers, and the laborative and social computing devices; • Computing method- popularity in non digital games (the most obvious example being → Modeling and simulation; ologies table top role-playing games). In this paper, we consider the dynamics of the multiplayer expe- KEYWORDS rience present in a number of multiplayer games and attempt to interactive storytelling, narrative, multiplayer, player interactions, reimagine them into a narrative space. We propose an initial model games for multiplayer narrative and inter-player narrative interactions, Reference format: based on Sculptural Hypertext[3, 15]. Callum Spawforth and David E. Millard. 2017. Multiplayer Games as a Template for Multiplayer Narratives: A Case Study With Dark Souls. In Pro- 2 BACKGROUND ceedings of Narrative and Hypertext Workshop 2017, Prague, Czech Republic, One of the rst IDS systems was TaleSpin, a system that gener- 2017 (NHT2017), 5 pages, CEUR-WS.org. ated stories based on the answers a user provided to a series of questions[14]. Since then, a number of novel systems have emerged, 1 INTRODUCTION particularly in the last 20 years[3, 5, 6, 13, 19]. These systems typi- cally fall into a number of categories. Emergent systems typically Interactive Digital Storytelling (IDS) is a type of storytelling that attempt to create narrative through the simulation of a complex allows the reader to change the story through their actions. The world, creating narrative through the interactions of independent 1http://www.polygon.com/2017/1/27/14417214/how-many-people-play-overwatch- 25-million 2World of Warcraft ocial website: https://worldofwarcraft.com/en-us/ 3Space Station 13 - Wiki of the most common distribution: http:/www.ss13.eu/wiki/ index.php/Main_Page 4The term "player" has been chosen as opposed to "multi-reader" or "multi-participant" Copyright held by the author(s). as we feel it best reects common usage. NHT2017, 2017, Prague, Czech Republic C. Spawforth components[2]. Plot-based systems adopt a top-down view of nar- a collectively experienced story, but clearly other models of inter- rative, typically assembling a high-level plot from a number of nar- action are possible. For inspiration we have looked at the types rative components[8]. Structural systems are plot-based systems of interaction found in more traditional multiplayer games, and that typically use a hand-crafted structure, such as a graph, oering explored how these might translate into multiplayer narratives. a unied and well-formed experience, typically at the expense of agency[13]. 3 MULTIPLAYER GAMES AS NARRATIVE Some systems do not fall cleanly into any category, using ele- Multiplayer games consist of a number of signicant gameplay ele- ments of each, such as Facade[13]. Facade is an interactive narrative ments. Goals and interactions are areas frequently looked at as sig- that places the player amidst a conict between a couple engaged nicant to the multiplayer experience[7, 11, 18, 20, 22]. For the pur- in a heated argument. It adopts elements from both plot-based and poses of this paper, interactions as dened as "perceivable actions emergent approaches, representing the world as a simulation, with that act as manifestations of the user-user and user-environment the addition of a "Drama Manager". The drama manager adds and interactions" as proposed by Manninen[12]. retracts behaviours and discourse contexts for the characters, in an In this section, we look at the video game "Dark Souls", identify attempt to manage the dramatic pacing of the narrative. the inter-player interactions present and consider how to adapt Only a few systems exist within the multiplayer narrative space. them to the narrative space. Fairclough and Cunningham proposed a multiplayer case-based story engine that used a "story director" (SD) to assemble a plot using moves from Propp’s morphology[6]. Characters could be 3.1 Dark Souls - Game Description assigned to roles in each move by the SD. The system supported Dark Souls is a third-person action role-playing video game. Players multiple players by instantiating a story director for each. This al- play as an "undead", a cursed human that is unable to die perma- lowed the system to support multiple parallel plots or insert players nently, who must collect resources known as souls and humanity into dierent roles in a single plot. However, the multiplayer com- in order to prevent them becoming mindless like most of the other ponent of the system was not evaluated and so how it performed is undead. Mechanically, this is represented by "humanity", a resource unknown. that can be expended to restore the player to human form. In this A system proposed by Peinado and Gervas uses a knowledge form, the player games a number of benets, such as being able to intensive case-based reasoning approach to plot generation[16]. summon other players for aid. The system creates a single plot, allowing the players to navigate it At the beginning of the game, the player’s character is con- only as a group. demned to an undead asylum, which the player is required to es- In our work we propose using Sculptural Hypertext as a model cape. Following that, they are left to explore the decaying world for multiplayer narratives. In a sculptural hypertext the author outside of the asylum in a open-world fashion. Much of the history creates a collection of narrative nodes. Each node has a set of of the world is implicit, told through the visual style of the game preconditions and eects. Unlike traditional hypertext, all nodes and dialog with non-player characters (NPCs). are potentially available, but links are removed based on the current The goal of the player is to progress through the game, defeating reading context. For a node to be accessible, all of its preconditions a number of strong opponents so that they can make a nal narra- must be satised by the world state. Visiting a node modies the tive choice at the end of the game - To usher in an age of darkness, reading context, revealing or hiding new nodes[3]. Despite its basic or to prolong "the age of re" and end the undead curse. A number underpinnings a number of more complex high level patterns can of sub-goals exist within the game in the form of tasks given to be created using this system, such as parallel threads, or narrative the player by NPCs, or joinable groups known as "Covenants". The phasing [10]. player’s progression through the game can be considered to be in a In [3], Bernstein proposes the collaborative system Social Shark xed number of states, depending on several interactions with key using Card Shark as a base. Card Shark is a sculptural hypertext objects in the game, in addition to bosses defeated. implementation that treats each node as a card. Each card contains Each player has an individual version of the game, independent a brief passage of the narrative.

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