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In a traditional story the hero is called the protagonist.
This is the character that's primarily responsible for
driving the plot of the story.
You know, the hero.
He's gotta accomplish a mission, get to the castle, kill the dragon,
rescue the princess, whatever.
The opposing force that stands in that hero's way is called the antagonist.
This character is responsible for creating, conflict, basically complicating
the protagonists quest in getting whatever he or she is out to achieve.
This is central to a story, as well as to a game.
You need that source of conflict between these two opposing desires or goals.
In Angry Birds the birds are the protagonists and
the pigs are the antagonists.
The birds want the eggs back, the pigs wanna keep the eggs that they stole.
That's your emotional context.
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So seeing your game as a story first will help you not only easier define
these two opposing forces, but also assign emotion and character to them.
This not only sets you up with a what your game is about, but
also helps you define why you should connect to it at a more personal level.
Seeing birds that have been wronged by pigs in Angry Birds is a more effective
way than seeing just a bunch of shapes and colors with no emotional context to them.
Who doesn't love birds?
Try looking at your game's hero in that protagonist context, and
try to see the forces that stand in their way as the antagonist.
Seeing them as characters, as living beings that have emotions.
Start your game's story by defining that emotional relationship
between these two forces.
What's their history?
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It's not enough to just connect emotionally with the player or audience.
You need to keep that interest level rising as your story or game unfolds.
This brings up the idea of rising actions in a story,
which we're gonna analyze more thoroughly in following lectures.
Rising actions basically means the energy of your story
needs to keep increasing from the beginning through to the end.
The conflicts between the protagonist and
the antagonist forces need to develop and the tensions between them
need to keep rising until they finally resolve at the end in one big event.
The story's hero needs to run into trouble that gets worse, and worse, and
worse before finally being able to kill that dragon and rescue the princess.
We see a very tight correlation to what keeps a game interesting, and that
is in seeing a game get harder and harder to play as you work up in its levels.
With each subsequent level in Angry Birds, the pigs get harder to knock over.
Their obstacles are tougher to get around, and
they even start wearing stuff like helmets to protect themselves.
So the player of the game has got to get better at playing as they go along,
but we need balance.
So to balance out that game play,
designers also created more capable birds to introduce as you rise in the levels.
They get new functions that help get around these harder obstacles and
give the player something new to learn and master in their game play.
Much in the same way that stories present plot twists, and increase tensions,
and more increasing, dangerous situations for the hero to overcome.
We'll see these principles in studying the classic fairy tale, Sleeping Beauty,
in our next lecture.
Before we move on, let's bring up a new game for a moment, PacMan.
Is there much of a story already there in the game?
No, not overtly, no, there isn't, and that's my point.
So as an exercise for yourself, try figuring out
how to create a more interesting narrative behind PacMan as a game.
In short, it comes down to defining that emotional history.
The relationship between the protagonist, PacMan, and
the antagonists, the ghosts and their leader Pinky.
Exploit that relationship to build a story around it.
What if PacMan betrayed Pinky and stole Pinky’s girlfriend back in college?
How could that change the design of the game in your mind?
By giving a reason for the ghosts to hunt down PacMan to get revenge,
you have a new framework to play out that story, and
you bring more emotional context to it.
[SOUND] Quiz.
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So, in a nut shell, seeing your game first as a story becomes a strong,
conceptual blueprint.
And off of that blueprint you can design the characters, the settings, and
the game play to fit into and tell that story,
whether you have a simple game or you have a super, huge, complex game.
It's the story that elevates the game and
appeals to the player in that most important way.
Dariush DerakhshaniFaculty, Character Animation
