TOWARD A DEEPER UNDERSTANDING OF BRANCHING DIALOGUE SYSTEMS LEANNE C. TAYLOR-GILES BFA (Creative Writing Production) Submitted in partial fulfilment of the requirements for the degree of Masters by Research. CREATIVE INDUSTRIES FACULTY QUEENSLAND UNIVERSITY OF TECHNOLOGY 2014 Leanne C. Taylor-Giles -- Understanding Branching Dialogue Systems Keywords Agency; branching dialogue systems; conversation architecture; creative writing; critical path; emergent narrative; emotional interface; immersion; interaction design; interactive narrative; literary criticism; narrative design; player character; practice-led; roleplaying video games; writing for video games. 2 – Creative Industries, QUT Understanding Branching Dialogue Systems – Leanne C. Taylor-Giles Abstract This exegesis addresses the concept of writing for video games, and specifically the branching dialogue systems available within contemporary roleplaying video games. It suggests a taxonomy for the critique of interactive narratives, and seeks to answer the question of whether branching dialogues may be separated from their medium in order to apply more traditional methods of literary criticism. The exegesis covers the critique of four contemporary roleplaying video games that are rated as the ‘best’ from among the offerings of the current video game development industry. It also examines the author’s personal works from both an internal and external standpoint, to further elucidate the aspects of writing for branching dialogues and interactive media that have yet to be discussed from a practitioner’s point of view within an academic context. As a conclusion, the exegesis presents a final project aimed at supporting the reflections and discoveries made throughout, providing a first-hand look at a game writer’s unedited creative process and the methods by which greater interactivity with non-player characters may be achieved. Creative Industries, QUT -- 3 Leanne C. Taylor-Giles -- Understanding Branching Dialogue Systems Contents Keywords ................................................................................................................ 2 Abstract ................................................................................................................... 3 Statement of Original Authorship ....................................................................... 9 Dedication ............................................................................................................. 10 Acknowledgements ............................................................................................. 11 Disclaimers ........................................................................................................... 13 Chapter 1: Introduction to Writing in Video Games ....................................... 15 1.1 Area of Research: interacting in stories? ............................................... 22 1.2 Video Game Writing in Context ............................................................. 25 1.2.1 Agency ................................................................................................ 25 1.2.2 Critical Path ........................................................................................ 27 1.2.3 Emergent Narrative........................................................................... 30 1.2.4 Immersion ........................................................................................... 32 1.3 Overview .................................................................................................... 34 Chapter 2: Methodology ...................................................................................... 37 2.1 Beginning the Study – Quantitative, or Qualitative? .......................... 37 2.1.1 Test Conditions .................................................................................. 38 2.1.2 Results ................................................................................................. 38 2.2 Refining the methodological approach ................................................. 41 2.3 Practice-led and the allure of researcher-as-subject ............................ 41 2.4 Designing the study ................................................................................. 44 Chapter 3: The History of Conversation ........................................................... 47 3.1 Introduction ............................................................................................... 47 3.2 The Player As A Character ...................................................................... 49 3.3 Giving the Player a Voice ........................................................................ 51 3.4 Representing Choice ................................................................................. 53 Chapter 4: Visual Impact of Dialogue Displays ............................................... 55 4.1 Introduction ............................................................................................... 55 4.2 Mass Effect (2007) ....................................................................................... 56 4.3 Dragon Age: Origins (2009) ....................................................................... 58 4.4 The Elder Scrolls V: Skyrim (2011) ............................................................ 61 4.5 Deus Ex: Human Revolution (2011) .......................................................... 64 4.6 Conclusions ............................................................................................... 67 Chapter 5: Conversation Analyses ..................................................................... 69 5.1 Introduction ............................................................................................... 69 5.2 Defining the Study .................................................................................... 71 5.3 Mass Effect .................................................................................................. 73 5.3.1 Introduction ........................................................................................ 73 5.3.2 Conversation 1: Navigator Pressly ................................................. 73 5.3.3 Conversation 2: Dr. Williams & Dr. Manuel ................................. 80 4 – Creative Industries, QUT Understanding Branching Dialogue Systems – Leanne C. Taylor-Giles 5.3.4 Conversation 3: A group of farmers ............................................... 86 5.3.5 Reflections on the analysis of Mass Effect’s branching dialogues 90 5.4 Dragon Age: Origins .................................................................................. 92 5.4.1 Introduction ....................................................................................... 92 5.4.2 Conversation 1: Cyrion ..................................................................... 92 5.4.3 Conversation 2: Duncan ................................................................... 99 5.4.4 Conversation 3: Lord Vaughan ..................................................... 107 5.4.5 Reflections on the analysis of Dragon Age’s branching dialogues 114 5.5 The Elder Scrolls V: Skyrim ...................................................................... 116 5.5.1 Introduction ..................................................................................... 116 5.5.2 General Conversations ................................................................... 117 5.5.3 Reflections on the analysis of Skyrim’s branching dialogue system 126 5.6 Deus Ex: Human Revolution .................................................................... 127 5.6.1 Introduction ..................................................................................... 127 5.6.2 Conversation Structure ................................................................... 129 5.6.3 Reflections on the analysis of Deus Ex’s branching dialogue system 137 5.7 Common Assumptions Related to Branching Dialogues ................. 138 5.7.1 Ambiguous Lead-ins ...................................................................... 139 5.7.2 Meaningful Choices ........................................................................ 141 5.7.3 Foreseeable Consequences ............................................................. 142 5.7.4 Tailored Dialogue ............................................................................ 144 5.7.5 Competence ...................................................................................... 146 5.8 Questions Arising from the Analysis of Assumptions ..................... 148 Chapter 6: Reflections on Personal Works ...................................................... 151 6.1 Ceci N’est Pas Un Titre (2004) ................................................................. 152 6.1.1 Introduction ..................................................................................... 152 6.1.2 Ambiguity ........................................................................................ 155 6.1.3 Agency .............................................................................................. 157 6.1.4 Context .............................................................................................. 158 6.1.5 Lack of Judgement .......................................................................... 161 6.1.6 Relation of the Text to Key Industry Assumptions .................... 165 6.1.7 Reflections on the work Ceci N’est Pas Un Titre .......................... 166 6.2 Nyphesnae’s Labyrinth (2009) .................................................................