Narrative in games: Narrative unpicked a look into art direction
After looking at the narrative of Firewatch [1], Inside [2] and Oxenfree [3] I have decided to look into how that narrative might have implied some of the art direction for the games.
Firewatch [1]:
After playing Firewatch [1] it was clear to see that it has beautiful environments and a strong narrative but I wanted to know more, here's a list on how I believe the narrative of the game changed the art:
The narrative of the game makes you have to go to lots of different areas with in the area, so number one it needs to be a large enough environment to do all of the things that the story entails. Number two the areas must be detailed enough so that you can see them multiple times and not get bored.
The level design must fit the narrative path; The path that the character takes in the story has to match the game. The game also adds in new short cuts and items to make an area interesting again so that you don't get bored of walking round the same environment.
There is a lot of pick-upable/readable items in the game this is because the environments also need to tell narrative; its a puzzle/mystery game so you need to find hints and clues as to what happened as well as being told it.
The day and night cycle needs to be different enough so you can tell what time of day it is.
[4]
When concepting the game it was important that the environments were able to work at different times and colours so that same environment would be visually different depending on what you were doing and what time it is.
[5]
"The world can look stylised but must feel real" [6] CAMPO SANTO PRODUCTION (2015, 4:30) The narrative for the game is meant to be realistic and relatable therefore the art needed to be close to or readable as real world.
"An immersive space supports an immersive narrative" [7] CAMPO SANTO PRODUCTION (2015, 4:52) The environment needed to be as detailed as the story; for example Henry's tower needed to feel as if he could inhabit it, it has his possessions everywhere, food and utensils etc.
"the art really needs to support the sense of realness, despite whatever stylisation" [8] CAMPO SANTO PRODUCTION (2015, 5:07) The art in this game was planned around the narrative and what ever style was chosen needed to enhance the story.
To get the colours that they wanted in the environment the used coloured lighting though a custom sky-box. It would be out of the question to paint strong oranges in the asset textures, so by being able to control the colours through the lighting really helps when setting the scenes of the game.
[12]
"The art being in harmony with what the player is feeling really does add the the immersive realness of player experience, for example when game is introducing a mysterious perhaps menacing element you want the mood of the scene to support that; you probably wouldn't want that birthday party parade kind of colour palette when you are trying to be spooky." [9] CAMPO SANTO PRODUCTION (2015, 15:33) The game's story really pushed forward the colour schemes for the different sections of the game, whilst still having it looking realistic.
They used colour scripting to match up the art direction to the narrative this is commonly used in films/animations.
[10]
All of the regular items such as the typewriter and whisky have normal world shapes, they need to be real worldly; you can speak about these to Delilah, the ordinary day things need to push forward the narrative. The texture detail of the items show if it is iterative and the majority of the time you will be able to get added narrative from these.
"Use style to your production advantage. Our rocks and trees are relatively simple assets because they only serve to set the stage, we put a lot of design thought and love into the props because they help build the narrative and the narrative is the core of our game." [11] CAMPO SANTO PRODUCTION (2015, 26:26) The props are the main things that sell the visual narrative; notes and interesting items. If everything is too over detailed the player will wonder off the linear game path.
Inside [2]:
After playing Inside [2] I could tell there was a very strong narrative and I wanted to find out how this was told throughout the game due to there being no text or voice acting. Here's a list of how Inside's [2] story implied the art:
There is no text or speech throughout the game, so everything is told through the environments
The lighting and colour levels are on point, it easily and clearly shows objects and path throughout level.
The lighting is your main hint at how to get through the game; shows you where to go.
The narrative needs the game to look cold, bleak, moody and atmospheric so the art direction needs to imply this, this is done through the almost monochromatic colour scheme but also through the desaturated colours they use.
Colours are used very scarcely in the game, when they are used it to portray emotions; the icy blue colours are to make it feel cold and for you to be on edge; the reds and warm colours are used to make you feel more comfortable and safe.
The game has a lot of contrast and environment layers this is to show depth and to make it easier for the player to know what they are doing.
Selection of environment based narrative in Inside [2]:
[13]
At the beginning of the game there is a pile of dead pigs at the farm.
[13]
There is a groups of masked families watching the zombie like beings; the guards and people that try to catch you are also masked.
[13]
There is a large water enclosure with the number 02 on it showing that this could all be parts of laboratory experiments.
The glass is also cracked showing that the environment is falling apart and also that whatever is in the tank could have created that.
The room is also on a slant showing that the building is falling apart and breaking down.
[13]
This room is completely over grown by plants either showing the apocalyptic world or that there was experiments on growing indoor vegetation.
The light in this scene also shows your exit, showing you where you need to go.
Everything in this image is pointing upwards, the composition also points you in the right direction.
There is also a pod that looks like it could have contained a person (like a stasis tube).
[13]
There is another pod and these can be seen throughout the environment, many people speculate that these grow the zombie like humans.
[13]
When you become the blob monster there is a section where you fall from the ceiling into a replica environment, this is foreshadowing the end of the game.
It also shows that you escaping as the blob is yet another experiment as they all ready know where you are going to end up at the end of the game.
[13]
In one of the final sections of the game you walk onto what can only be described as a stage it has yet another experiment number on the floor.
If you look closely in the game you can picture people in the audience.
Oxenfree [3]:
After playing Oxenfree [3] I was intrigued by the hand painted 2.5D style and whether or not the strong narrative was the reason they went with it. Here's a list of how the story implied the art:
"Oxenfree's art style evolved throughout pre-production to match the game's design and story needs." Francis, B. (2016, para 9) [14] The game's style evolved with the story, so when they decided that the story was darker the art reflected that.
"the camera distance and 2D approach were purely decisions of function." Francis, B. (2016, para 9) [14] Some aspects are already set in stone so the art direction just needs to work around that.
[15]
As the story progressed the characters and world changed. The style took a cinematic and matte painting style so it felt more like a creepy animated film to reflect the story.
The game is set at night due to the story but the art needed to show it as organic and inviting rather than just dark and dull.
The supernatural parts of the game are completely different to the environment and characters; there are bright and geometric to make them feel otherworldly. The outcome makes them feel out of place in the lush world. This helps sell the supernatural narrative.
[16]
The game has a medium sized map so the environment needs to be interesting enough to go back to the same areas multiple times.
The 2.5D style of the game lets the player not get too distracted but still lets the environments be very detailed, if this was in 3D the player would get lost looking at other things around the environment.
[17]
Conclusion:
Overall the three games I have looked at definitely all show signs of changing their art direction to fit the narrative. In my work flow for the mine and James' FMP I have made sure that the art direction is working at the same time or after the narrative is/was being written; this makes sure that I can adapt the art to make it mesh with the story and the gameplay.
Bibliography:
[1] CAMPO SANTO (2016) Firewatch. [Online] Linux, Microsoft Windows, OS X, PlayStation 4, Xbox One. California/Oregon: Campo Santo/Panic Inc.
[2] PLAYDEAD (2016) Inside. [Online] Xbox One, Microsoft Windows, PlayStation 4. Copenhagen: Playdead.
[3] NIGHT SCHOOL STUDIO (2016) Oxenfree. [Online] Microsoft Windows, OS X, Xbox One, PlayStation 4, Linux. California: Night School Studio.
[4] CAMPO SANTO (2016) Firewatch day and night cycle. [Online image] Available from: http://blog.camposanto.com/ [Accessed 28/11/16]
[5] CAMPO SANTO (2014) Firewatch concept piece. [Online image] Available from: http://blog.camposanto.com/page/5 [Accessed 28/11/16]
[6] CAMPO SANTO PRODUCTION (2015, 4:30) The Art of Firewatch (GDC 2015). [Online film] Available from: https://www.youtube.com/watch?v=ZYnS3kKTcGg [Accessed 28/11/16]
[7] CAMPO SANTO PRODUCTION (2015, 4:52) The Art of Firewatch (GDC 2015). [Online film] Available from: https://www.youtube.com/watch?v=ZYnS3kKTcGg [Accessed 28/11/16]
[8] CAMPO SANTO PRODUCTION (2015, 5:07) The Art of Firewatch (GDC 2015). [Online film] Available from: https://www.youtube.com/watch?v=ZYnS3kKTcGg [Accessed 28/11/16]
[9] CAMPO SANTO PRODUCTION (2015, 15:33) The Art of Firewatch (GDC 2015). [Online film] Available from: https://www.youtube.com/watch?v=ZYnS3kKTcGg [Accessed 28/11/16]
[10] CAMPO SANTO (2014) Firewatch colour scripting. [Online image] Available from: http://blog.camposanto.com/page/6 [Accessed 28/11/16]
[11] CAMPO SANTO PRODUCTION (2015, 26:26) The Art of Firewatch (GDC 2015). [Online film] Available from: https://www.youtube.com/watch?v=ZYnS3kKTcGg [Accessed 28/11/16]
[12] CAMPO SANTO (2014) Firewatch engine layers. [Online image] Available from: http://blog.camposanto.com/page/7 [Accessed 28/11/16]
[13] RETROTAILS (2016) INSIDE - Complete playthrough - No commentary. [Online film] Available from: https://www.youtube.com/watch?v=3qlQXPvq4XQ [Accessed 28/11/16]
[14] FRANCIS, B. (2016, para 9) Road to the IGF: Night School Studio's Oxenfree. [Online] Gamasutra. Available from: http://www.gamasutra.com/view/news/264900/Road_to_the_IGF_Night_School_Studios_Oxenfree.php [Accessed 28/11/16]
[15] CHRISTIAN, A. (2016) Oxenfree: Cave. [Online image] Available from: http://gameguideworld.net/oxenfree-review/ [Accessed 28/11/16]
[16] CHRISTIAN, A. (2016) Oxenfree: Portal. [Online image] Available from: http://gameguideworld.net/oxenfree-review/ [Accessed 28/11/16]
Oxenfree map. [17] OXENFREE (2016) [Online image] Available from: http://oxenfree.wikia.com/wiki/File:Oxenfree-map.jpg [Accessed 28/11/16]