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Interactive Storytelling: Branching Narratives As the Future of Personalized Gameplay?

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Interactive Storytelling: Branching Narratives As the Future of Personalized Gameplay? Interactive storytelling: branching narratives as the future of personalized Gameplay? by Anna-Lena Richter Student ID: 11110928 [email protected] written in the summer term 2019 For BA Digital Games at Cologne Game Lab / TH Köln Supervised by Prof. Bernd Diemer submitted on: 28.06.2019 Table of Contents 1) An introduction into the different methods of branching ....................... 4 1.2) Interactive and branching narratives in different media ................... 16 2) Why the need for personalized gaming? .............................................. 19 2.1 Branching failure or future? ............................................................... 21 2.2) Voices of the industry ........................................................................ 26 3) Conclusion ........................................................................................... 32 4) References ............................................................................................ 34 5) Attachments .......................................................................................... 39 5.1) Game Link and Introductions ........................................................... 39 5.2) Interviews .......................................................................................... 40 5.2.1) Interview with Chris Avellone (22.05.2019): ................................. 40 5.2.2) Interview with Chris Schlerf (18.05.2019) .................................... 45 5.2.3 Interview with Jörg Friedrich (12.06.2019) .................................... 54 5.2.4) Interview transcription with Walt Williams (16.05.2019) .............. 59 5.3) Documentation .................................................................................. 70 5.4) Interactive Short Story Script ............................................................ 75 5.4.1) Character Introduction ................................................................... 75 5.4.2) Script .............................................................................................. 78 Jonathan: ................................................................................................... 78 Dorothea: ................................................................................................ 120 5.5) Acknowledgments ........................................................................... 157 6) Statement of Originality ..................................................................... 158 2 Abstract: This bachelor-thesis addresses narrative branching and its future in digital games. Therefore, I will start with a description of different branching methods and how they are used in interactive storytelling. I will then talk about story-based interactivity in other media to draw a line to a short history of branched video games. To discuss the question if branching narratives are part of the future of interactive games or a failure, this thesis will shortly look at human psychology and its need for personalization to later lay its focus on published games that use narrative branching. Within this context, there will be a slight focus on the recently published (Quantic Dream) Game Detroit - Become Human. To address the future of narrative branching, I furthermore conducted inter- views with experienced narrative designers and writers from both Germany and Amer- ica. With their help, this thesis will try to gaze into the future of narrative branching in interactive storytelling. 3 1) An introduction into the different methods of branching Interactive storytelling exists more or less as long as mankind tells stories. But with the possibilities that new media provides, it enhances further and becomes more and more important. In this thesis I will mostly concentrate on digital interactive storytelling and branching. In order to do this, it is important in the first place to explain some of the most frequently applied branching methods in modern interactive storytelling. The terms I will use in this thesis in order to explain certain branching methods are taken from Sam Kabo Ashwell's introduction of “Standard patterns in Choice based Games”1, “Small-Scale Structures in CYOA” by Emily Schort2 as well as Dan Fabulich's article “By numbers: How to write a long interactive novel that doesn't suck!”3. The methods that are described in this chapter are not discrete categories. A lot of times different patterns intertwine with each other in various gaming forms. “Time Cave” 1 https://heterogenoustasks.wordpress.com/2015/01/26/standard-patterns-in-choice-based- games/ from 25.01.2015. 2 https://emshort.blog/2016/11/05/small-scale-structures-in-cyoa/ from 05.011.2016. 3 https://www.choiceofgames.com/2011/07/by-the-numbers-how-to-write-a-long-interactive- novel- that-doesnt-suck/ from 27.07.2011. 4 The “Time Cave” is a very obvious and simple branching structure, but still probably one of the most labor-intensive ones. Thanks to this structure the player is able to experience very different story outcomes and has a lot of freedom in his own decisions. The “Time Cave” method strongly encourages replaying the game several times. But because of labor intensity, interactive stories that use this branching structure are rather broad than long. Sam Kabo Ashwell said about the “Time Cave” Structure: “The Time Cave's Structure is both organized by chronological progression and detached from it. It's ungrounded by regularity: possibility is so open that it often becomes fantastic or surreal, with different branches occupying wholly different realities. The player has velocity but little grasp, vast freedom but little ability to comprehend it. “4 A very recent example of the use of the “Time Cave” Structure in a game is probably Detroit - Become Human5, which will be talked about further in another chapter. 4 https://heterogenoustasks.wordpress.com/2015/01/26/standard-patterns-in-choice-based- games/ from 25.01.2015. 5 Detroit - Become Human (Sony Interactive Entertainment 2018, O: David Cage/Quantic Dream). 5 Bottleneck-Branching: 6 The structure of this branching method more or less only mimics real choices. Though the story branches at some point, it rejoins at another time. This is a good way to make the player feel like having a personalized gaming experience while the main structure of the storyline remains linear. For it to work properly on its own the “Bottleneck” should be used in a rather large story. Therefore, state- tracking is an often-used tool in Bottleneck-patterns. Some very well-known examples of Bottleneck structures in games are BioShock 1& 2 7 8 as well as most of the (Telltale) Games like for example The Wolf Among Us 9. 6 https://heterogenoustasks.wordpress.com/2015/01/26/standard-patterns-in-choice-based- games/ from 25.01.2015. 7 BioShock (2K Games 2007, O: Ken Levine/2K Boston & “K Australia). 8 BioShock 2 (2K Games 2010, O: “K Marin/2K Australia/Arkane Studios/Digital Extremes). 9 The Wolf Among Us (Telltale Games 1013-14, O: Telltale Games). 6 The “Gauntlet” 10 The “Gauntlet” is a rather simple pattern. While the story remains mostly linear the branching is used to implement death, backtracking or a quick rejoining. If there are multiple endings in a game that uses the “Gauntlet” branching they mostly derive from a final choice the player has to make rather than from choices that were made throughout the game. Although the main path of this technique is linear the branches still can have an effect on the player experience, for they can mean death, incorrect answers, travel back in time, blocked paths, scenic details and so forth. There are two different kinds of “The Gauntlet” branching: The friendly one: uses short range rejoining and looks a little like a simple version of “Bottleneck Branching”. The deadly one: here the branches are mostly used for death and failure. An example for a Gauntlet structure in a game is Zork Nemesis: The Forbidden Lands11. 10 https://heterogenoustasks.wordpress.com/2015/01/26/standard-patterns-in-choice-based- games/ from 25.01.2015. 11 Zork Nemesis: The Forbidden Lands (Activision 1996, O: Zombie LLC). 7 “Quest-Branching” 12 Another structure which is mostly used in a specific game genre is the “Quest- Branching”. Here the tree leads to distinct branches that tend to rejoin and will lead to one or a small number of winning endings. The branching elements in this method have a modular structure which consists of small clusters that will allow the player to approach the situation in different ways. This branching method is mostly used in exploration games, in these games not only side tracking is used quite often but the branching is more than often organized by space rather than time. A good example for the use of the “Quest-Branching” is the game 80 Days.13 12 https://heterogenoustasks.wordpress.com/2015/01/26/standard-patterns-in-choice-based- games/ from 25.01.2015. 13 80 Days (Inkle 2014, O: Inkle). 8 “Open Map-Branching” 14 The “Open Map-Branching” as well as “The Quest-Branching” is a method, used most often in a specific type of game genre; so a lot of Open World RPGs use this kind of method to structure their narrative. But different from “The Quest” method, time rather than space is an important matter, although the quests here are still structured by geography, so there is something like a build-in direction of travel. Open World Games like Final Fantasy XV15 use this branching technique amongst other ones. 14 https://heterogenoustasks.wordpress.com/2015/01/26/standard-patterns-in-choice-based- games/ from
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