Game Design
how do we make it interesting and fun
Last updated
how do we make it interesting and fun
Last updated
Time cave, gauntlet, and branch-and-bottleneck are our basic structures we will see a lot of
Further reading:
The questioner asks about “a mastery of interactive thinking,” not about writing skills, so I’m going to assume the author feels comfortable on topics like prose and character development, and is more interested in understanding and practicing narrative design across multiple media. It also seems to be a design-focused question rather than a tools- or coding-focused question.
So I’ll try to tackle this from two angles: what are the things you might want to learn, and how might you learn them?
What I’d recommend doing, therefore, both to the OP and anyone else who is looking to use this as a guide:
Pick one or two areas that seem interesting to you and focus on those for a while; let your interest and enthusiasm be your guide
Use a mix of strategies to learn from other people (I list a bunch of approaches below)
Alternate between working with other people’s input/insights, and building your own thing. When something you’re reading makes an assertion you think is nonsense, build an experiment to prove the opposite. When something you play inspires you, give that a try. When you read a taxonomy of some kind, question whether it covers all the possibilities, and whether you can imagine categories the article-author didn’t consider (and would the results be any fun to play?)
Core IF Skills. What are these?
I’ve divided these, a little artificially, between “grammar” — basic skills that let you put together something that functions from moment to moment; “dialectic” — structural-level skills about creating meaning; and “rhetoric”, the skills you would need to make IF that persuades, moves, or influences the player.
I’ve also put some resource links in for some of these, but not all of them are addressable with single articles, and this is an unreasonably long post already anyway, so the resource coverage is patchy. (Sorry about that.) One could delve deep into most of the particular segments.
Grammar: how do you construct an interactive experience that makes sense?
How do you build a choice? If you’re putting a moment of decision in front of the player, what does that look like? What kinds of choices are there? What does a good choice feel like? How many choices do you give the player at a time?
What about short sequences of choices? How do you build those successfully and what considerations go into creating a good rhythm?
If instead of stand-alone choices, you’re thinking in terms of consistent game verbs and stats, how do you use those moves to advance a story?
How do you choose stats for your game? How do you understand the relationship between the stats and the gameplay outcomes? How do you design a system around the numbers here?
How do you handle non-linear plot structure and manage the potential of combinatorial explosion? How do you understand and talk about different branching and non-branching structures? What about other ways of organizing and unlocking content? How about highly procedural and emergent narratives?
How do you create an interactive world that tells a story as the player explores? How do you place gates, where do you reveal information, how do you make sure that your world is legible and traversible? This skill is the bread-and-butter of parser IF rather than hypertext IF, but it teaches a lot of useful lessons for any crossovers with conventional video games as well as VR or other spatially-constructed pieces.
…a vast amount of other writing from the world of traditional text adventures
How do you deploy challenges and blockers? In the old days we just called these puzzles, but the ability to gate player progress through a story based on some criteria is extremely useful even for interactive stories that aren’t at all like text adventures.
How do you communicate world state, goals, interaction affordances, and stakes to players? How do you allow your fiction to communicate what’s under the surface in a lucid way?
For me, the latter question is where we get the need for procedural text generation — because only highly adaptive text can reveal everything I want to reveal about the world I’ve built. That’s an art in itself.
How do you handle pacing to trade off between plot-advancing, exploring, and idling actions?
Dialectic: how do you make the aspects of your interactive experience cohere into something with an overall thematic thrust or purpose?
What do we mean by a narrative system, and how might something like that support the various individual goals outlined above?
How do you devise a mechanic that is going to be a good fit for a particular story? A story that’s going to match a particular mechanic? How might that change from scene to scene?
Which types of gameplay are the best fit for different genres?
When do you tell your story as story, and when as backstory? What can be achieved by interactively telling a story about events that can no longer be affected?
Where does the player have freedom or a lack of freedom?
Rhetoric: what moves players, what persuades them, what teaches them or makes them think?
How do you engage the player on moral questions?
How does interactivity alter the handling of sensitive topics? What can we talk about differently in that format?
What can interactive stories reveal about structures of power? When is it useful to decenter the player in order to make a point? How do choices communicate the experience of living on the margins?
…and loads of other topics here — this is really just a sampling — because once you level up from “basic craft” to “what are you saying / can you say with IF”, the field is naturally huge
Emily short's
"Craft" section of IF theory reader:
Emily short's guide to learning IF writing skills:
Finally, I should say: even with all the scoping-down I just did, this is a topic that I think would take a book to cover, not a single blog post. So the list of things you might want to know is at once very incomplete and . No one will master all of it in a couple of months.
(Bruno Dias — I’ve called out just this one post, but he has a column at Sub-Q with relatively short, accessible introductions to a lot of topics in IF writing)
(Cat Manning, on choices where the player’s actions do not in fact hugely affect the world model afterwards, but that still have a big effect on how you might feel about what you read)
(me, about ways of rendering choices that allow for expressiveness, embodiment, etc)
series (Jason Stevan Hill/Choice of Games; these are very specific to the Choice of Games brand and use some of their in-house terminology, but can still be interesting from outside that context. Their games include heavy use of player stats.)
(Peter Mawhorter et al, academic article)
(me)
(Jon Ingold, video)
talks a good bit about game verbs in a story context, though I don’t always agree with his conclusions (and my review talks about how/why not)
A lot of parser IF design is about this; the trend towards is a particularly interesting place to look
looks at ways of visualizing stats, and looks at opposed and unopposed stats
considers some questions about how to deploy the stats you’re tracking
(Bruno Dias) looks at the math behind choices around chance and resource change
(Sam Ashwell)
(Choice of Games)
(covers a range of topics, but some of it is around structure particularly; Jon Ingold/inkle, video)
(me: talks about quality-based narrative and some other methods of organizing content)
(also me, this time about standard storylet-based approaches to narrative structure)
(me, but summarizing and linking to an article by Max Kreminski)
(me, talking about work that relies heavily on randomness rather than branching or procedural content sorting)
(Tarn Adams, video)
(Ron Gilbert)
(me)
(Jolie Menzel, video)
(me – this is an analysis of some XYZZY-nominated puzzles, but it begins by enumerating a bunch of qualities that a good puzzle might have)
(me, several years old, and I’ve had a huge amount of additional work in this area since, but it tackles some applications in the text adventure space)
(Bruno Dias)
(me, video; focus on the aesthetics of the generated text)
(me) looks at ways that narrative systems can interface with what’s going on in a game
I talk about this some in and in general can be a good place to find out authors’ reasoning about such things: answers tend to be particular and vary from game to game, which is the whole point.
looks at one angle on this
(Aaron Reed; this is just one piece of his dissertation thesis, which is worth delving into as a whole, and he’s reposting bits to Medium)
Andrew Plotkin’s reviews often look at these issues in detail; and (more in-depth on the mechanics here), but it’s worth going through some of his backlog too. A lot of my earliest understanding of narrative design came from reading Andrew’s posts about interactive fiction back in the 90s
How do you manage the “” — the player, the person performing any commands you give in world, and the narrator? When does the triangle make the interaction jarring? How can you play with separating those identities, or putting a fictional gloss on how they’re interacting? How do tropes like the work in IF specifically?
(Graham Nelson)
(me, on first/second/third-person issues, but also looking at some games that do different things with the triangle of identities)
(me)
is an old article but still talks usefully about tradeoffs between freedom, quality story, and agency
(me, an old essay as part of an ongoing conversation)
What types of agency are there? How and why do you or agency? How does the player’s degree of agency affect their feelings about the themes of the work? What about cases where the gameplay makes the player in something they might not really want to participate in?
(Sam Ashwell)
(me; talks about the player as protagonist, as co-author, as reader…)
(Stacey Mason)
There’s a fair amount of exploration of what can be done with constrained or denied agency in IF, from to , and it would be worth trying some of those games and the reviews of them
See for some interesting IF experiments here.
(Olivia Wood, video)
(Dan Hett)
post-mortem (Gavin Inglis, on writing a game about a character who self-harms)
What strategies are effective at allowing the player to experience life from a perspective not their own (cf so-called “” [which is itself a bit reductive])? What about evoking unusual mental states or emotional experiences?
I would consider a familiarity with mandatory; if you need to pick just a couple, do and .
(Meg Jayanth, video)
(Leigh Alexander, video)
How do systemic games work persuasively? (The tag “persuasive games” was common a few years ago, and a Google search might still turn up some interesting discussion here. .)
