A Twitter follower asked me for resources to teach students to pair space and story in a meaningful way, and they were already familiar with my article Plot-Shaped Level Design.
To state what will be extremely obvious to some of my readers, but probably new to others: this is classic craft territory for parser IF, where maps are generally developed in tandem with plot and puzzles.
The primacy of the map, in this tradition, is why Inform had a map index much earlier in its development than it had a scene index: charting the space, together with its doors and access points, was understood as more critical (and also easier to do programmatically) than diagramming a CYOA-style node structure.
Classic text adventures rarely experimented with treating space as continuous rather than room-based, even though the possibility of doing so cropped up in discussion at least as early as 1991, with another discussion in 1996. Some of that may have had to do with technical challenges, genre convention, and the relative difficulty of expressing quantitative information in prose. But I suspect another major factor was simply that the room-based approach to map design offered a lot of leverage in controlling which parts of the story the player saw at a time. Games such as Ether that allow for very free movement through a highly connected volume have to rely on alternative methods to control narrative presentation, or else have story content that can safely be encountered in any order.
In classic parser IF design, the companion of the map was the puzzle dependency chart. Puzzle dependency charts showed which barriers had to be crossed before which others; maps represented how this manifested in physical space.
In most parser IF, not all of the map is available at once, and the player has to solve puzzles to open particular areas, whether by unlocking a door, getting past a guard, throwing light on a dark room, etc.: many of the classic IF puzzles reward the player with access to new spaces, though there are many different ways of setting up the challenge initially.
That progression of spatial access was typically what let the author control the difficulty curve (only give the players puzzles that they’ve proven they’re ready for) and the plot reveals (put the more important clues deeper in the map). Often, reaching a particular location, or reaching it under particular circumstances, or interacting with an object there, would serve to trigger dramatic scenes marking a major advancement in the story.
Then there’s the question of pacing and content density. How much story material belongs in each room? How much real space does a given room represent, and how does that connect with narrative presentation? Adam Cadre’s review of Lost New York gets into detail about some of these topics, and the problem of representational space vs. literally simulating a large area.
So with all that background explanation, here are a few other resources beside the links already given, but if anyone reading wants to recommend others, please feel free to comment as well. Continue reading “Mailbag: Teaching Spatial Storytelling”