Many times I thought that storytelling in open world games is a separate art of game design. It is necessary to involve the player in exploring locations, diversify everything with side quests, not distract too much from the main line, and so on. And I found an article that describes one such tool - the concept of “dungeons” for sequential transition between important parts of the plot. All using the examples of Metroid, Zelda, Control and general conclusions.
Я about games with a classical narrative structure (approx.: we were talking about three acts, when the player first gets acquainted with the environment and situation, then the plot develops, in the third act - everything is brought to its logical conclusion).
Now let's look at the acts in more detail and display all the plot elements inside them using a diagram. This approach will give the game designer enough freedom, regardless of the overall narrative structure.
Let's take an open-world metroidvania as an example. At certain points in the linear progression, the player gains abilities with which to explore new areas. This is what Zelda looks like, where most of the map is accessible from the very beginning, and the player tries to open access to certain places, the so-called “dungeons”, which add a new experience to the game.
In general, Metroid and Zelda have the same structure: an open world that you can explore until you reach a dead end. Then you need to look for a way to move forward.
The plot of these games uses “dungeons” as points of development of the narrative - they act as conductors and transitions from one part of the global narrative to another. After completing dungeons, new plot details are added through NPCs, the environment changes, and so on. Let's look at it with an example.
This is The Legend of Zelda: Link's Awakening. You gain access to a specific region by completing the required dungeons. As you explore the world, you discover more locations and find new dungeons.
The picture reflects the order of progression through the game. Associated with the first dungeon is a launch pad and a small area below. The second dungeon only slightly expands the available territories and complements the locations that we have already explored. But the third dungeon gives access to a huge territory - almost half of the remaining map. The fourth and fifth dungeons also allow us to explore the vast world of the game, revealing more and more of the map. The sixth, seventh and eighth dungeons themselves are quite extensive, but open up small areas.
What happens in the open area changes as you progress through these dungeons. The earliest ones simply provide access to new locations and the opportunity to communicate with residents. Later ones direct you to certain points on the map where you can find treasures that have been under the player’s nose all along.
On the diagram, progress to the first dungeon will look like this:
Intro > find the sword > find the toadstool > find the magic powder > help Tarin > get the key to the Tail Cave > enter the dungeon.
Link's Awakening has a linear story that doesn't require much exploration to find all the items needed (though the player is given side quests that can be completed at any time and in any order). And the starting location is a miniature of the entire game, and in this case the miniature is as linear as the game itself. In more modern titles, the situation is a little different, such as Breath of the Wild, although its dungeons are not as developed from a story point of view as in Link's Awakening.
This structure isn't unique to the Zelda franchise. For example, Norfair in Super Metroid is an atmospheric location full of danger and fire. The Ghost Ship provides a strong linear experience, like Zelda dungeons. And Maridia is full of water and walls that you have to destroy - this area has its own mood, and the first Metroids we meet in the game live there. Although Super Metroid has a simple story, each location feels different to the player. The mood changes as you progress, and all the necessary plot information is easy to obtain simply by exploring the world.
More interesting “dungeons” can be added to a metroidvania to highlight important plot points.
Now let's figure out what is included in the structure of the narrative
I believe that the core is a large game area with a general idea (overworld). IN I called them acts, but now I perceive them simply as part of the plot. Each part can be presented in the form of a diagram, breaking down, for example, the entire first act. And then make another diagram inside for the part of the story that only connects to a few dungeons in the first act.
Let's imagine you're making a fantasy game, and for the first hour the plot revolves around the Evil Lord Sorkk'naal, King of all Orcs, planning an attack on a neighboring kingdom. You find yourself in a kingdom, and everything around speaks of this invasion. Nothing more important is happening right now. Even if you leave these lands, ideally all quests should remind you of the orcs' aggression or give a new assessment of their actions.
If we know the territories the player has access to, we can control where and how the story is told. This could include something like hub world (approx.: a playable area between other areas), such as in Mario 64. This game isolates levels from the overworld, with characters in the hub world providing the player with information as they progress. As a result, the castle changes - new doors and locations can be opened in it. I used Mario 64 as an example because even games without a narrative can use a similar structure. The world should remain harmonious, even if there is no purpose to tell a story.
Having decided on the overworld, you need to deal with linear “dungeons” that expand certain concepts. “Dungeons” can be locations in the literal sense of the word - they also need to be explored and passed. But they can also be presented in the form of quests that reveal another aspect of the global plot.
For example, quests in Control lead to a specific area with a specific goal - as you approach it, it tells you what is happening there, be it a sentient mold or a mountain of clocks. A new location always gives a quest, which briefly spurs the player to explore. As a result, when the user returns to the main plot, he is again ready for a linear narrative.
Control also features several "real world dungeons" where you enter a certain room or hallway and reality becomes distorted, creating an enclosed space. The player needs to solve several puzzles or fight off enemies in order to escape. However, most of the time the player simply follows a linear plot and moves from one location to another, like a standard Metroidvania.
The concept of "dungeons" is not simply about locations isolated from the main gameplay, but rather is associated with a linear, organized sequence of events at a set pace.
I'm serious. Control implements this concept amazingly. Be sure to play it if you haven't already.
Okay, but how to use this structure in production?
1. First, break your plot into parts. In most cases it will be Act One, Act Two and Act Three. Great start. Each act must have a specific narrative purpose.
- First act: the orc army attacks.
- Act two: the army has attacked and we must fight back.
- Third act: we won, but at what cost.
2. Having identified the main elements, we break them down into smaller ones. Every quest in Act One should be related to the upcoming attack. The player can search for information, attempt sabotage, lure enemy troops to his side, or conduct peace negotiations. Whatever happens, the narrative must reflect the overall plot.
3. Moving on to the Second Act, forget about the quests from the First. Clearly show the player that it will be impossible to go back: the orcs have already attacked, there is no point in wasting energy on reconnaissance.
4. It would be nice to come up with a couple of quests that simply complement the game world. There may be quests in the game that are independent of what act is unfolding right now. For example, you need to save Mrs. Poppowitz's cat, and no matter whether orcs attacked or not, the unfortunate creature will sit on a tree. Such quests are not necessarily tied to the events of a particular act, but they help diversify the plot or have some other functional meaning. Having fun is already a worthy reason.
Instead of summarizing, I will outline the key points of this article:
- Determine the overworld in which part of your story takes place.
- Fill it with things that will move the narrative forward.
- Use adjacent spaces as a transition from one part of the plot to another.
- Interrupt the overworld with thoughtful, specially built “dungeons”.
Source: habr.com