Death of three-act structure AGDC08

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Andrew Walsh presented the session posed on the question 'Are game writers witnessing the death of three act structure?  Mr. Walsh was alive, full of passionate self-reflexive humor.  His talk was a great postmortem on how layered interactive storytelling can further game experiences while maintaining their classical roots.  Clearly defending the form forged by Aristotle, he went on to explain how he used the form in Prince of Persia and how it lent to creating a next-generation interactive story experience.

Andrew Walsh AGDC08

In creating his installment in the Prince of Persia series he had set some clear markers for successful storytelling:

  • A strong identifiable story.
  • A simple playing experience.
  • A deep story world.
  • Allow the player choice and control.
  • Making the characters feel alive.
  • Providing a next generation experience.

What is his conceptual tool?  "Ondemend storytelling"  Just what is it?  Andrew went on to explain, "Ondemand storytelling is a story design that allows the player to choose when to access the story and how much of it they want to experience."   It is a layer of interactive depth that is available to the player at the designers discretion to give the story hungry player additional content.  The Ondemand elements are not required to forward gameplay, they exist to provide depth to the player, in that they allow the player to customize their own experiences.  Anyone who has played Gears of War will be familiar with such systems.  By holding a button (Y) on a console controller a player can shift focus, shift control, to the game makers, so they (writers/designers) may direct their focus to story points of interest.

Like the tapes in Bioshock which are available for the player to listen to anywhere, in Harry Potter and the Order of the Phoenix, the segments are "carpeted" or as Andy refers to it "story carpeted" so that segments of story are available in certain rooms, missions or levels.  Andy sees story as a thing of words, dialog, and cut-scenes, while I appreciate his perspective, he is clearly missing, perhaps purposefully, the importance in our craft of visual storytelling.  As a writer it's understandable, but as a Narrative Designer, it would be expected one would emphasize the use of embedded story within the environment via art and non-dialog driven sound.  Environments were touched up briefly, but I believe he could have placed more emphasis on the ability of setting to drive stories.  He mentioned the use of the car-radio within GTA as a way to paste story on top of gameplay without requiring the player to directly engage with the story element, but again it is a story element that is driven by voice-over (VO).

In the end, the answer to his question is no. According to Mr. Walsh, the 3-act structure is not dead, it's alive with a new depth previously unseen in linear media experiences.  Andrew was clearly successful in his aim.  Prince of Persia has a strong, deep, player driven story.  It's a next generation play experience which brings characters and worlds alive.


"If you use a cutscene you are not a leper." -Andrew Walsh

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This page contains a single article by Stephen E. Dinehart published on September 16, 2008 12:52 PM.

Moving From Games to Interactive Storytelling AGDC08 was the previous entry in this blog.

The Future of Interactive Entertainment AGDC08 is the next entry in this blog.

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