By Flint Dille, John Zuur Platten
There are different books approximately developing games in the market.
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Extra resources for The Ultimate Guide to Video Game Writing and Design
Second, you give the player more freedom to explore, but ultimately, you can elegantly determine where and when you will allow story and game progression to take place. For example, you can allow the player to move throughout an environment, and explore multiple story-threads, but he will not be able to progress deeper into the game until he visits the bartender at the edge of town. The bartender becomes a gameplay and story chokepoint, and ultimately, all the gameplay will begin to funnel the player toward his conversation with the bartender.
The idea here is that the world is alive and remembers things and there are consequences for your actions. For instance, if you kill a guy who is a member of a certain gang, that gang will hunt you for the rest of the game or until you perform a mission for them. In a role-playing game (RPG) you are not so much progressing through a story as trying to build up your character to better deal with the world of the game. So, the journey of the character becomes the story. The problem is that you have to anticipate thousands of different kinds of alts depending on who your character is and how an NPC will relate to them.
WRITER-DIFFICULT FORMATS These formats are by their very nature much less controllable. They tend to lead to a lot of situations in which the writer will have to write endless alts (alternatives) and fairly generic exchanges with NPCs (Nonplayer Characters). In practice, however, these games tend to have linear, mission-based components so that the player can experience varied gameplay. In a free-flow game there are no cinematics or obvious breaks in the story. This effectively refers to an open world design in which your adventure is whatever you happen to do in the world.