Revolutionizing Game Storytelling in Virtual Reality

Immersing oneself in a virtual reality experience is fundamentally distinct from traditional gaming. The interface, voice-overs, and camera movements in conventional games constantly remind players that they are merely portraying a character, such as Booker DeWitt or Adam Jensen, from a distant perspective. However, in VR, this separation is eliminated, and players feel as though they are directly inhabiting the virtual world. The experience of playing Resident Evil 7 in VR, for instance, made me feel like I was the one being stalked by Mia Baker, rather than simply controlling a character. This shift in perspective poses significant challenges for storytelling in VR. After nearly a decade of writing for Coatsink, a UK-based game developer with extensive VR experience, I'd like to share some insights on how to effectively tell stories in this new medium. At its core, a story revolves around a character's decision-making process and the subsequent character arc that emerges from these choices. But how can this be achieved when the player is in control of the protagonist? One possible solution is to externalize the protagonist, separating the player from the story's main character. In Augmented Empire, for example, the player controls Craven, who makes tactical decisions, while the story's protagonist, Willa, undergoes significant character development. Similarly, in Shadow Point, the player controls Alex, who solves puzzles and explores new worlds, while the story's protagonist, Lorna, evolves from a selfish brat to a wise and generous adult. Player-character voice-overs can also be confusing, at least initially, and may require innovative solutions, such as making the player perform a positive action before hearing their character speak. Narrative delivery is another crucial aspect of VR storytelling, and the choice of method can significantly impact costs. While text is a cheap but suboptimal option, recorded dialogue and character rendering can be more effective but also more expensive. In Augmented Empire, we used 2D portraits of the main cast to convey tone and emphasis, whereas in Shadow Point, we opted for a more physically present and lip-synched approach, which increased developmental costs. In Jurassic World Aftermath, we took a different approach, using voice-overs to convey the story agent's arc, allowing the art and animation teams to focus on the dinosaurs. Character interactions are the backbone of drama, and cutscenes can be a useful tool for providing rewards and gameplay breaks. However, they can also be problematic in VR, raising questions about player direction, movement, and comprehension. There are no one-size-fits-all solutions, and the key is to find situational answers that work for each specific game. One of the greatest contradictions in VR storytelling is that spectacle is often cheaper than drama. While displaying a set-piece explosion can be relatively straightforward, conveying emotion and character development can be extremely challenging. To address this, it's essential to lock down cutscene scope early on and determine the most important story beats to deliver. Environmental storytelling is another fundamental tool in the developer's arsenal, and in VR, environments are immediate and tactile. Players can examine objects from any distance, and even mundane items can take on new significance. My advice is to create detailed notes for artists, explaining the location's narrative significance and the emotions it should evoke. It's also essential to respect the player's time and attention, as VR games require a unique combination of attention, input, and physical movement. Writing for established IP involves striking a balance between expectation and innovation, and tone is crucial in creating an authentic experience. While fans expect to see iconic aspects of a franchise, they also want something new and original. Theme is ultimately what gives a story substance, and it's essential to pick a theme that is appropriate to the franchise and let it guide the narrative.