Sometimes in your game you will want to put a story. It is useful to know their basic types and what is associated with them. Today we will take a description of the storyline because of the possibility of interference with the player.
The simplest form of conducting the storyline is the linear storyline. It leads the player from point to point in such a way that excludes any influence of the player on the story told. For example, the linear storylines let us use games such as Warcraft and Call of Duty. In these games, tasks are placed before the player, which can perform in more or less different ways. However, each time you complete a stage, you will have the same consequences. This is probably the only drawback of conducting the plot in a linear way-the game always follows the same.
However, this flaw has many advantages:
The cost of creating such a story is relatively low, because it does not require the creation of several versions of the story, and describing the relationship between events in the game.
The mechanism of telling stories is much simpler, because the program does not have to track any important moments of the game that could affect the storyline.
The linear storyline makes it easier to exert certain emotions on the player, as it is much easier to plan dramatic moments. Screenwriter has full control over the construction of tension.
Harder here for some absurdities that can destroy the reception of the game. Imagine when a once-killed character appears in the game again. These situations can occur in poorly designed nonlinear plots. In a linear game, it's much easier to avoid. The closest example will be traces of the bullets that exist in the film even before being fired from the weapon.
In addition to linear storylines, we have a non-linear storyline in which the player can have the actual power to influence the story to a lesser or greater degree. These in turn can be distinguished on the storylines branching out and collapsing.
The Rozgałęziającej story pattern can resemble a tree in which each new bough represents the new path of the story. However, unlike a regular tree, branches can be merged back into a single branch. The main advantage of such conducting the storyline is a large freedom of player interaction on the surrounding world, game designer can also offer several alternative endings of history. We can give the player the opportunity to burn the village to CNA, wyrżnięcia its inhabitants or make friends with them, and each of these decisions will affect the further part of the game. The story Rozgałęziająca has unfortunately many flaws and risks:
An exponentially increasing game cost. Each branch requires a new version of the story to be developed. Create additional sites or other game elements that will not always be presented to the player, which can cause some type of players to never discover them.
are difficult to plan and develop. The designer needs to consider all the critical places of history (affecting the separation of the story) and for each of them to develop an alternative story. This can lead to such absurdities as the event of the Filmiku above.
Players can feel poirytowani knowing that they are bypassing their significant part of the game because of their choices. Even worse, when the branching of the storyline is caused by how well the player copes with his challenges. This can lead to the fact that he will feel punished (he will not know what will happen in other threads of the plot) for having worked well.
The only game that comes to mind and has this type of storyline is the Fallout (the first ones). In this game we can push the story forward in almost any way, in various ways we can also solve the tasks posed to us. Once killed by us, the character will never appear in the game anymore. Joining the slave hunters opens new ways, but changes the NPC's response to the player's character, just like killing a child. Fallout 2 also offers a certain degree of alternative endings (ignoring the different ways to defeat the main opponent), which are the answer to what we were doing in the sites we visit.
A compromise between the line story and the storyline of Rozgałęziającą is a collapsible storyline. Designing such a story consists in the designation of certain events imminent which lead episodes of the story Rozgałęziającej. This method combines the advantages of the previous two. It allows you to have a lot of control over the story, giving the player a certain adjusting of freedom. As in the case of the storyline of the line, screenwriter has a great opportunity to influence the emotion of the player precisely through such imminent events. Here, for example, I give Planescape Torment, where the player is not able to miss certain moments in the game, but between them has a very large freedom of action.
In the next episode, a few words about how the mechanism of answering history can react to the actions of the player.