The Two Great Myths of Interactive Storytelling
by Jesse Schell
About the Author: Jesse Schell was formerly the creative director of the Walt Disney Imagineering VR Studio, where his job was to invent the future of interactive entertainment for the Walt Disney Company. Now he is professor of entertainment technology at Carnegie Mellon University, specializing in game design. He also is the CEO and chief designer at Schell Games, a studio that specializes in the design and development of unusual video games.
Myth #1: Interactive Storytelling Has Little to Do with Traditional Storytelling
I would have thought that by this day and age, with story-based games taking in billions of dollars each year, this antiquated misconception would be obsolete and long forgotten. Sadly, it seems to spring up, weedlike, in the minds of each new generation of novice game designers. The argument generally goes like this:
"Interactive stories are fundamentally different from noninteractive stories because in noninteractive stories, you are completely passive, just sitting there, as the story plods on, with or without you."
At this point, the speaker usually rolls back his or her eyes, lolls his or her tongue, and drools to underline the point.
"In interactive stories, on the other hand, you are active and involved, continually making decisions. You are doing things, not just passively observing them. Really, interactive storytelling is a fundamentally new art form, and as a result, interactive designers have little to learn from traditional storytellers."
The idea that the mechanics of traditional storytelling, which are innate to the human ability to communicate, are somehow nullified by interactivity is absurd. It is a poorly told story that does not compel the listener to think and make decisions during the telling. When one is engaged in any kind of story line, interactive or not, one is continually making decisions: "What will happen next?" "What should the hero do?" "Where did that rabbit go?" "Don't open that door!" The difference only comes in the participant's ability totakeaction. The desireto act, and all the thought and emotion that go with that, are present in both. A masterful storyteller knows how to create this desire within a listener's mind, and then knows exactly how and when (and when not) to fulfill it. This skill translates well into interactive media, although it is made more difficult because the storyteller must predict, account for, respond to, and smoothly integrate the actions of the participant into the experience.
The way that skilled interactive storytellers manage this complexity, while still using traditional techniques, is through the means of indirect control, using subtle means to covertly limit the choices that a participant is likely to make. This way, masterful storytelling can be upheld while the participant still retains a feeling of freedom. For it is this feeling of freedom, not freedom itself, which must be preserved to tell a compelling interactive story.
Myth #2: Interactive Storytelling Has Little to Do with Traditional Game Design
I am amazed by the vast number of would-be game designers who whine that while they are brimming with great game design ideas, they lack the large team required to implement these ideas, and therefore they are unable to practice their craft.
This is nonsense of the highest order. A game is a game is a game. The design process for a board game, a card game, a dice game, a party game, or an athletic game is no different from the process of designing a video game. Further, a solo designer can fully develop working versions of these nonelectronic games in a relatively short time. Making and analyzing traditional games can often be far more instructive than trying to develop a fully functioning video game. You can learn much more about game design in a much shorter time, and you won't have to concern yourself with the technical headaches and limitations involved with interactive digital media. If you really want to understand how to create good interactive entertainment, first study the classics, and then try to improve on them. Riddles, crossword puzzles, chess, poker, tag, soccer, and thousands of other beautifully designed interactive entertainment experiences existed long before the world even knew what a computer was.
To sum up: New technologies allow us to mix together stories and games in interesting ways, but there are very few elements that are fundamentally new—most designs are simply new mixtures of well-known elements. If you want to master the new world of interactive storytelling, you would be wise to first understand the games and stories of old.
- Advice from the IGDA on Choosing an Academic Game Program
- Applying for a Job in Game Design
- Business Opportunities for Independents
- Games for Girls and Women
- Indie Game Jam
- Interview with a Game Agent
- Selling Ideas to the Game Industry
- The Core Mechanic
- The Two Great Myths of Interactive Storytelling
- Understanding the Tabletop Game Industry
- Where to Game Ideas Come From?