Category: Assassin’s Creed

Telling a Story that Matters

My previous two posts about Assassin’s Creed II focused on some of the narrative elements of the game that engage with the game player and develop an interactive environment. However, I wanted to look for an outside perspective on how the game develops its narrative. GB Burford describes in his article why he thinks the … Continue reading Telling a Story that Matters →

My previous two posts about Assassin’s Creed II focused on some of the narrative elements of the game that engage with the game player and develop an interactive environment. However, I wanted to look for an outside perspective on how the game develops its narrative. GB Burford describes in his article why he thinks the second installment of the Assassin’s Creed games is the best to play. He attributes it to the game’s ability to develop Ezio’s character through the dynamic narrative qualities similar to the ones I pointed out in my first blog post. He believes that the player’s investment in the narrative motivates players to take action. He states “I remember a time where I did things in Assassin’s creed because I wanted to, not because some map markers demanded action.”

Players slowly uncovers Ezio's narrative throughout the game. Players are not just encouraged to accomplish the next task because the game asks them to, but because they are invested in the narrative itself.
Players slowly uncovers Ezio’s narrative throughout the game. Players are not just encouraged to accomplish the next task because the game asks them to, but because they are invested in the narrative itself.

In many ways, I think a game can be successful if they can get the player to invest in the game in some way. Investment in the game keeps the player wanting to play and appreciating what the game does for them. Player’s find enjoyment in storylines where they feel rewarded for their accomplishments within the game. They are rewarded for their investment in the game when they advance the narrative, bringing the game’s character closer to the positive ending.   In Assassin’s Creed II, by introducing Ezio’s family in an interactive way, the player becomes emotionally invested in the game when his family is killed to cover up a Templar conspiracy. Once the player is invested, they are no longer seeking out the map markers that demand action, but performing the tasks that they desire to complete. Other than dynamic narratives, good game mechanics, immersive environments and rewarding gameplay can also increase a player’s investment in a game. But overall, games should not be all about graphics, violence and ‘pushing the boundaries’ to sell the game, but game developers should focus on creating player’s investments. Players are attracted to games that pull them in. Sometimes, things that pull players in are confused with controversial social themes. If game developers were to direct their energy into increasing each player’s investment in the game through well developed narratives, rather than focusing on obscene material meant to sell the game, many of the controversial social issues that videogames reinforce could be eliminated from the games themselves.

Article Link:

http://kotaku.com/the-best-start-to-an-assassins-creed-game-1681820001

Image Source:

http://vignette2.wikia.nocookie.net/assassinscreed/images/7/79/Heirloom_2_v.png/revision/latest?cb=20121009195722

Dynamic Narrative Development in Assassin’s Creed II

Assassins Creed II develops two narratives throughout the game. Careful strategies aim to keep the player engaged in both narratives in different and interesting ways. One narrative is related to Desmond’s current situation at Abstergo and he must decode messages hidden throughout the Renaissance setting by “Subject 16”. Shaun Hastings and Rebecca Crane, two other Anumus Operators … Continue reading Dynamic Narrative Development in Assassin’s Creed II →

Assassins Creed II develops two narratives throughout the game. Careful strategies aim to keep the player engaged in both narratives in different and interesting ways. One narrative is related to Desmond’s current situation at Abstergo and he must decode messages hidden throughout the Renaissance setting by “Subject 16”. Shaun Hastings and Rebecca Crane, two other Anumus Operators provide information to Desmond developing this narrative while Ezio is in the Animus world. Ezio’s narrative from the Renaissance time period is developed through missions, video scenes and game tasks.

The purpose of some missions are for you to hear dialogue between characters that develop the narrative story as you perform tasks that are less valuable to the game plot.
The purpose of some missions are for you to hear dialogue between characters that develop the narrative story as you perform tasks that are less valuable to the game plot.

Early on, Ezio’s narrative is developed through video narratives before shifting to actual gameplay.  One of the missions involves running errands for Ezio’s mother. Along the way she discusses a treason trial that his father has evidence in support of. You learn about the plot of the story within a dialogue occurring during play. This separates itself from the typical dialogue occurring in video scenes that often dominate video game narratives. The narrative is also advanced through mission tasks. Specifically, there are missions that involve Ezio delivering messages for his father. Through the game’s tasks you develop the narrative by spying on and listening to conversations about corrupt officials, or by reading messages that you have been tasked to deliver.

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Game mission instructions direct the player to “Read the Letter.” The letter develops the game’s narrative plot and clues the player into the action of the story.

The multiple approaches to introducing the narrative in games can keep the player interested and engaged with the narrative. In some games I have played, like Metal Gear Solid 4, the narrative is exclusively introduced through video sequences. Many of the sequences I will skip after I lose interest in the narrative. Sometimes I just skip ahead to the game missions instead of sitting through another narrative video. Game developers should take different approaches to develop the narrative so that they also create multiple dimensions to the storyline. The player is required to piece together multiple elements of the narrative if there are introduced to the story in different ways. If they can learn through the games tasks and dialogue during the mission, players will be led to search for the narrative throughout the game and not just when the game cuts to the video narratives. In a way, game developers can keep players “on their toes.” Players should be seeking out the story instead of passively waiting for it to be introduced to them.

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