1. Interactive Storytelling for Video Games Chapter 12: The Argument for the Supremacy of Player- Driven Storytelling Josiah Lebowitz Chris Klug

2. The Great Argument  Which of the previously covered types of game storytelling is the best?  Do players prefer more traditional stories with clearly defined characters and well crafted plots?  Or do they prefer highly player-driven stories which give them a large degree of control and freedom?  Many notable game industry veterans can be found on both sides of the debate.  The argument needs to be looked at from both sides.

3. The Four Key Points  Supporters of player-driven storytelling primarily base their arguments on four key points. (Opposing arguments will be covered in the next chapter.)  The Evolution of the Art Form  Giving the Writer Greater Freedom  Strengthening the Player – Character Bond  Giving the Player What He Wants

4. The Evolution of the Art Form  Traditional storytelling has existed since the dawn of recorded history.  Many stories from hundreds and even thousands of years ago are still considered to be among the best ever written.  Therefor, traditional storytelling reached its peak long ago and can no longer advance as an art form.  To push storytelling to new heights, its necessary to put aside the old methods and focus on player-driven stories so the art form can continue to grow and evolve.

5. Giving the Writer Greater Freedom  Player-driven stories free writers from having to follow a single plot progression and outcome in their stories.  Writers can use player-driven storytelling to fully explore all possible angles and outcomes of their stories.  Backstory can be spread across multiple branches and optional sections, improving the story’s pacing.

6. Strengthening the Player – Character Bond  Players become much more engaged by and emotionally invested in stories when they truly care about the hero.  Interactivity can help strengthen the bond between the player and hero.  Therefor, allowing the player to create a custom hero and giving him a significant degree of control over the hero’s personality and actions should allow him to easily form a very close bond with that hero.

7. Giving the Player What He Wants  Games need to make money and, to do that, they must appeal to a large number of players.  Stories are an important part of what attracts players to games (at least in some game genres).  Many things, such as poor pacing or a bad ending, can easily detract from or ruin a story.  Giving the player control over a story’s progression and outcome should, in theory, allow him to ensure that the story follows the path he’ll enjoy most.  Therefor, what the player wants and enjoys most isn’t to watch a story unfold, but to become a part of and help shape the story.  Assuming this is correct no further argument should be needed. But is that really the case?

8. Things to Consider  Do you think that highly player-driven stories are superior to more traditional stories? Why or why not?  Briefly summarize your own thoughts on the four key points.  Can you think of any additional arguments that could be used to support the supremacy of player-driven stories?  Do you believe that most players want to be given more control and freedom in video game stories? Why or why not?