I agree. We all know this stuff happens in everything we humans do. We're not machines after all. The beauty of finding one's way is self-development. The "Way" unique to each one is a product of that progress in one's knowledge and understanding.Maglok wrote: You shouldn't just look to 'older' writing I agree. It'd like to nominate Dante's Divine Comedy though (Inferno, Purgatorio, Paradiso), very good old stuff. For newer work, check Corwin or Straczinsky.
I also never write that much of an outline on paper, it get's chaotic real fast (for me).
Every writer does it differently. That's what makes it so awesome.
Having this one, sharing our tips -- no matter how small, may prove to be beneficial to those in need of some starting point of development in their ability. The surprise of seeing someone develop and having to be beside them as fellow campaigners with some sense of story-stuff skills would be awesome.
In a sense, a war is just the stage on which conflicts arise. Conflict comes from differing perspectives, motives, etc. A skirmish of course is there to get the player playing, but it doesn't necessarily end when the skirmish is over.BadManners! wrote:Of course, we shouldn't exaggerate the importance of these things in relation to creating campaigns or anything. Blizzard and its creative fans have proven a hundred times over that anything can be a reason for a big battle.Maglok wrote: You shouldn't just look to 'older' writing I agree. It'd like to nominate Dante's Divine Comedy though (Inferno, Purgatorio, Paradiso), very good old stuff. For newer work, check Corwin or Straczinsky.
I also never write that much of an outline on paper, it get's chaotic real fast (for me).
Every writer does it differently. That's what makes it so awesome.
Like Desler said somewhere else, the bad thing about writing for an RTS game is that you have to have some form of battle in it, on a regular basis. Everything has to result in violence of some sort. Otherwise, nothing happens.
In general, for campaigns and other playable fanmade material, I'd say that conflict is a must. A bad person or persons, a good person (or half-good) and immediate results/consequences of the player's actions (of course, intended by the writer). Have that scenario repeated a few times, changing the scenery, changing the specific people involved, turning things around and you have a decent campaign story.
This is why I choose not to end a mission with "destroy the enemy base". Having the player see the enemy forces eradicated means the opposition is cleared. Now, of course, this can take another meaning, depending on the context you build for that specific objective.
I may be able to share some insight on this matter -- building scenes into missions, that is.
Also, when it comes to player's actions affecting the story, it is possible to make sense of branching sequences. It's like multiple endings in some vague manner. This subject is a cool one, and can take on a life of its own. We should deal into this in more detail if chance and time permits.
If you've read through the second image, you can see there that the skirmish between Lexus Commodus and all is not the conflict of the scene. In fact it is a result (or resolution) of a previous, untold conflict. The conflict is in the mind at this scene.BadManners! wrote: Well, I didn't say conflict was limited to just 'battle' , I said every story needs conflict of some kind. Those were two different paragraphs. I mentioned 'battle' later on because I was attempting to relate this subject to RTS campaigns and I said that 'conflict' and 'battle' are two things that in RTS oftentimes grow into one, so RTS games by definition aren't comparable to other stories.
Also, characterization is important in campaigns, but I think you should always keep in mind that you're making an add-on for a relatively flat videogame with flat characters. The main characters in Starcraft are still about as deep as a puddle and I wouldn't have them any other way. Too much information or drawn-out dialogues and you'll lose half the people you're trying to reach.
About characters, it's not good to catch as many people as possible. Story wise, we should know our intention, and we should deliver our message through the story as crisp and clear as possible. Stacraft characters are not well developed. IMO, they may just be put there without any conscious effort to tell a good story.
Story to gameplay is indeed a very interesting topic to cover.Maglok wrote: I do agree with letting players not get bored. Some tricks I use to get to that: I use voice overs of chars discussing things while the player gets to play. I also tend to chop up the story in several segments. A simple example would illustrate this best: Some chars meet somewhere. They talk about stuff and one mentions 'So there I was', we fade and play through what the character is talking about. I also like to throw people in the dark. Just give them units, a hero and not a lot of clue what is going on.
A mistake I used to make a lot is wanting to tell to much of the story right away. There is time for that, put in some gameplay segments first.
That said there are still always campaigns that are story-heavy or gameplay-heavy. We are personally going for a story-heavy. Lavvz being an animator, me being a hobbyist writer, we like it that way.
My take on this is that it really depends on the voice actors. Voice overs are more interesting than text because we can convey our characters more clearly. The actor's job is to be able to convey the character and intention, even the weight of the situation if you will, as the story demands it. This same thing goes with movies. This is why some actors are chosen for a role, and some actors just stay in the bottom of the choice list.BadManners! wrote:I know, man, voice overs always attract people's attention. What I meant was stories that don't seem realistic anymore, stories that are way too much for just a campaign.Maglok wrote:
A mistake I used to make a lot is wanting to tell to much of the story right away. There is time for that, put in some gameplay segments first.
I may be able to give the specific methodologies and techniques related to genres and stuff you hint about. It could help you sharpen your skills and methods in this subject.Maglok wrote: I tend to go for peeling the onion style storytelling. At the start you just don't know anything about anyone. The further the story progresses the more you find out. YET, with my writing you tend to not find out everything even if it is finished. All plot points will be finished of course, but 'Just what is the story of those guys?' might be something I don't explain to KEEP them mysterious.
This thing happens because of lack of development. Deus Ex only happens when you don't even mention a hint of what's coming. Every god-send help is part of the machinations running in the story. Failure to even hint this element will result in deus-ex.tipereth wrote: The unfortunate side effect of that technique is that it can amount to deus ex machina in the eyes of the audience.
The easiest way to solve a deus-ex is to go back to the very beginning and insert and exposition of the god-send element. One could also take all the effort of explaining (illustrating) the deus-ex causing element and break them into pieces, and weave the parts as your plot progresses. This way, the audience can dig back to the past events and say, "oh, yeah, I should have seen that coming!"
I have to say you got it all wound up. It's not bad at all, but it may hamper your progress.thebrowncloud wrote: Mysterious characters are a very useful tool, but only if you are planning on doing a sequel. If you end up including a character that is really badass and mysterious, your audience instantly wants more. If they know you aren't going to give them more, they instantly think the campaign is unedeveloped in some aspects. Fans have a thirst for knowledge when it comes to the stories they like; If you plan to include stones unturned but you won't turn them over, you might as well not include them at all.
But characters and their motives are nothing without a good story. The story is part of what defines the characters as well. It shows their goals, their fears, and their downfalls. I personally believe that stories, in reality, are actually tools used to give characters more emphasis and meaning. Sure, stories are the basis of your writing, but how you integrate the characters into it makes all the difference. Think about Command and Conquer 3: Tiberium Wars for a moment. They're story is a decent start, but their characters suck so much and are so tow dimensional that you lose interest. You can't relate yourself to the story if the characters are replaceable.
The idea of characters is (for us writers) first must be that they are functions essential to the story. You can't have a story without characters. Characters represent the forces of unwinding the problem of the story. They are called functions, this is why archetypes are offered to beginners for practice.
Most people tend to look at their characters as people. They're not. They're agents of your plot. I'll try to expand on this if chance allows.
The point is to not become the audience when developing your story. It's a bad habit. Your characters may play and shift roles all the time. New elements may be introduced that does not fit in his/her function and is already played by another character.
Check the third installment of the images, and there you'll find some hint on character. Mentioned there is Sinestro being the protagonist, and Hal being the antagonist of Green Lantern: First flight. This example hints of the Pursuit Motivation of the archetypal Protagonist, and the Avoidance/Prevent Motivation of the archetypal Antagonist.
Furthermore, each of these character archetypes has 8 elements. Will share further info if there's a chance.
Also, as per your example, the problem of the story is the characters were not given enough of detail for the audience to atleast force an empathy with. They're just like drones. This relates to the thoughts I added in reply on above.