Environmental Storytelling - Part 2: Bringing Theme Park Environment Design Techniques to the Virtual World

I discovered part one of Don Carson's article near the start of first semester. I had no idea there was a part two and part three! I will be looking through his article and making note of features that can be and should be applied to my game.

Link: http://www.gamasutra.com/view/feature/131593/environmental_storytelling_part_.php

Architectural Archetypes

Carson uses this example to highlight a very interesting and key point, which can be effectively used in my game:

'Imagine you have a pair of columns side by side, like our two trees, and have placed them in an open field. It is easy to predict that any passing hikers would find the sight of the two columns intriguing and potentially walk over to them. In the process of examining them, they might even walk around them several times. Now, Imagine that you add a lintel bridging the two columns, making an archway. Now the sight becomes more intriguing, and worthy of further investigation. Add a threshold stone to the base of the archway and you have created an irresistible mystery. With the addition of the threshold, you have created a door, and I defy any passersby to continue on without passing through it.... and once passing through, somehow feeling as though they have left one place behind and entered a new place all together. This occurs with the knowledge that they have not left or entered anywhere. They are still in the same field as before. If a passing person were to have the will power to avoid walking through the threshold, they might forever wonder what might have happened if they had.'

This example is pointing out the idea that a simple piece of architectural design can help suggest or directly point out, some aspect of a story. In this example, Carson makes reference that this mysterious piece of architecture could easily be some sort of doorway/gateway.

When it comes to fictional and perhaps, fantasy style stories - that become apparent in what initially seemed like a realistic story, needs some sort of doorway/gateway that separates the two worlds. This gateway can be anything. If it is a clear separation from one 'world' of the story to another 'world' within the story, then the audience can believe that it could potential make sense and be happy to continue with the story.

Example

A perfect example of this 'portal' between two worlds in a story is in Alice In Wonderland. This story begins in a normal real life environment, of Alice sitting in the grass daydreaming. She then spots a white rabbit wearing a waist coat, and follows it into a rabbits hole, eventually taking her to the magical land of Wonderland. This odd 'doorway' suggests too the audience that it could be a dream, imagination or perhaps, some sort of other realm in life. This type of doorway drives the story from the intro sequence, into the main story. Other examples of this include; The Chronicles Of Narnia, where in this case, the doorway/portal is a wardrobe, which leads into a fantasy land.

A perfect example in games is Among The Sleep, where you stumble down to the basement and from there, enter some sort of dream state/world. 

Using This Technique In My Game

My game will have certain events which, logically, are unrealistic and most would say impossible, however, in order to immerse the player into my world and believe what is happening around them, I need to create some sort of gateway/portal, from real life to nightmare.

My game begins in the room of a hotel. In this room will be items that include who you are and why you are there. It will also give some history to the character. More information will be discovered upon exploring the hotel. However, the events that occur are going to be events that occur from the characters memory and so I need to set this tone upon leaving the hotel room.

I am looking to approach this in a different method. The player will not be able to unlock the door until they have explored the room a little bit. After a while the door will creak open and some music will be played. This will immediately set the tone and add suspense for what could be ahead. This start also helps contribute to the type of 'horror' events coming ahead.

Illusion Of Complexity

'One of the problems facing most game and theme park designers is how to coax your audience through your story and still give them the feeling they are on a unique journey. A quest that is theirs alone, and one worth retelling once the adventure is over.'

The idea of pushing the player through the story without it being to obvious or boring is something I have been working on and looking too achieve. In a sense, this comes down to linear and non-linear storytelling. A lot of times, a game may appear non-linear but is in fact, quite linear. This can be accomplished through multiple paths - all leading to the same and final end point.

Using This Technique In My Game

To make sure my game seems non-linear, I have designed the level to have many optional routes. The events will occur in different rooms throughout the hotel hallway. These will be randomly scattered and so there is no one direction for the user to take to each room. This allows the user to roam the halls until discovering an open room. I will look to lead them to that room through music being 'apparently' played from the room that has recently opened. This technique is especially useful to help immerse the player into the environment as the environment is telling/leading the story as oppose to the level design pushing the player in one forceful direction.

Environmental Storytelling's Bag of Tricks

This technique is used in novels, films and books but is highly important to help maintain the player's interest:

'Tell them where they're going,
Tell them where they are, and
Tell them where they've been.'

With the player understanding these fundamentals in a game, it helps them understand the character and why they are in the situation they are in.

Using This Technique In My Game

In order to tell the story and explain these aspects through the environment, I will be using objects to tell the story. In the hotel room at the beginning, I will have a range of objects set to help the player understand who they are and why they are there. Throughout the game I will set small reminders of why they are there in order for them to keep engaged with the story and it's path.