Games, like movies and plays, are dramatic works. Dramatic works have a particular structure that they follow. You may think to yourself that having a specific structure is going to wall you in creatively, but think about physical structures and architecture. Buildings all follow the same laws of physics and yet they look different across the world. Stories are the same. Just because all dramatic works follow the same structure does not mean that the stories have to feel similar. This does come with a caveat. Designing games is an art and art does like to break rules. But we need to understand the form before we can break it. Game stories are often described by their narrative structure, the three-act, the hero's journey, or branching/multiple endings. I think we can simplify. All of these at their simplest form have a beginning, middle point, and ending. Which seems beyond obvious, but let's talk about it in more detail.
Beginning
In the beginning, we have a lot of exposition. We need to introduce the player to the main character. Main characters are a topic within themselves, but the most important thing we need to know in the beginning is what they want. The thing that drives them throughout the story. The other thing we need to know is what has set this story in motion. Why is the story beginning now? The event that kicks off the story is called the inciting incident.
Ending
The ending is where we find out if the character gets what they want. It's up to you whether they do or not. Ideally, the ending subverts expectations, but once it is known it seems obvious.
Middle Point
The middle point does not have to be in the exact middle of the story. Often it is a little bit later. The middle point in a play would be right before intermission. It is the thing that keeps people coming back. The middle point should be an event that makes the main character's goal for the story harder to achieve. If the story was a murder mystery, maybe a key witness was murdered.
Macro & Micro
All of this is at the macro level. We are looking at the entirety of the game's story. Luckily, when we look at it from the micro level, scene by scene or level by level, it's the same. Each scene should have a beginning, middle point, and ending.
Characters are the individuals that populate the game world, driving the plot forward through their actions and interactions. In a narrative-driven game, characters are not just vessels for dialogue; they are the heart of the story. Their development, motivations, and relationships with one another can deeply affect the player's engagement. For example, in Red Dead Redemption 2, the character of Arthur Morgan is central to the narrative. His personal growth, moral dilemmas, and interactions with other characters shape the player's emotional journey throughout the game. Characters in games need to be well-developed, with clear motivations and arcs, to make the story resonate with players.
The setting refers to the time and place in which the story occurs. The setting provides context for the plot and can heavily influence the tone and mood of the narrative. In games, the setting is more than just a backdrop; it’s an interactive environment that players explore and engage with. A well-crafted setting can make the game world feel alive and immersive. For instance, the city of Rapture in Bioshock is not just a setting; it’s a character in itself, with its art deco architecture, eerie atmosphere, and tragic history contributing to the game’s overall narrative and thematic depth. The setting can also include the cultural, social, and historical context, adding layers of meaning to the story.
The theme is the underlying message or central idea that the story is trying to convey. The theme gives the narrative purpose and can provoke thought or evoke particular emotions in the player. In games, themes can be explored through the plot, character arcs, dialogue, and even gameplay mechanics. For example, the theme of survival and the human condition is central to The Last of Us. Throughout the game, players are constantly confronted with the harsh realities of a post-apocalyptic world, forcing them to make tough moral decisions that reflect the theme of what it means to survive in such a world.
Themes can also be more subtle and open to interpretation. In Journey, the theme of companionship and personal growth is conveyed through the minimalist narrative and the player’s interactions with others. There’s no dialogue, yet the theme is felt deeply as players experience the journey together, even with anonymous companions. This demonstrates how games can use non-traditional storytelling methods to explore complex themes in unique ways.
Just because a character in the story may face moral decisions it does not mean that the story itself must have a moral.
Remember the flow state? Games are interactive stories so we need to make sure that we are telling the story in such a way that the player stays in the flow state. Often this is accomplished by high-octane action sequences followed by calmer periods of story development. Too much of either one of these may cause players to get burnt out or bored.
Here's the problem, in games we have players that like to interact with games in different ways. How do we design a story that can be enjoyed by different player types. Here is an example used with The Last Of Us Part II.