And yet the structure of the dramatic arc is largely unchanged.Ī tale like The Usual Suspects conforms to the dramatic arc just as much as a Sherlock Holmes story, and even an apparently-backwards story like Memento is still a dramatic arc moving forward. In more sophisticated stories, however, we often see chronology that jump back and forth.
#Issues of storywriting for mmos series
Stories are usually told in a straightforward A-to-Z fashion, so the dramatic arc is commonly the same as the chronological series of events. The basic unit of that structure is the dramatic arc. Story, as screenwriter William Goldman said, is structure. It’s the arrangement of those bricks into a specific structure which conveys more than the sum of its parts. While both linear and interactive stories could be said to be object based ( as Chris Crawford believes with his Storytron project), what makes a story a story is not the bricks. The problem is that the metaphor is inaccurate. The implication is that the interactive story has the potential to be a much richer experience than the linear one, and that is a powerful idea. Pictorially it might look something like this: The theory goes, therefore, that a story is a line of events that happen one after another, whereas a game is a tree, with many branches and choices. In order for game storytelling to theoretically function, the two need to seem to have some sort of relationship. It all starts with the difference between linearity and interactivity.
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