1) What is Exposition and its general purpose
Exposition is the direct dialogue that carries the narrative.
It should be split into slices to make them digestible
most important info at the end of a dialogue
just one piece of important information at once (per dialogue)
the type of information chronologically gathered should follow a logical order
characters presenting this information should have valid reasons to give them
“The general purpose of dialogue is to move the player forward!”
-> Dialogue does not offer the space to tell a background story in general.
(for reference, minute 4+ in this video)
“Let me tell you how our people started in stone age…” the writers history encyclopedia issue,
player reaction: fall asleep
“The evil empire killed all good people...” the oversimplification issue,
player reaction: will feel how artificial and generic the story is
“Dragons used dirty bombs and nuked our battle mechs with Magicka” the PR-exaggeration issue/ commercial keyword issue,
player perception: artificial, unimmersive overcooked story
“Once in the days of old, we captured the Mines of Moria, and Whiterun, and….” the lead level designer showing off random unrelated locations in the game issue,
player perception: what a bulk of irrelevant information -> fall asleep
“Oh, and when you go there, gather 20 Goblin skulls for me!” the Quality dep realized emptiness before shipping, adds random things issue
player perception: its generic, artificial and unpersonal and unimmersive
3) The primary purpose of Exposition
What is happening?
What do I do?
Where do I have to go next?
"This Dragon will eat Nirn!"
"This dragon killed your father!"
additional lore and realism (optionally, only if not breaking game flow!)
"How did we find out that he will destroy Nirn? Well, ..."
irrelevant / stopping game flow
“Let me tell you about the life cycle of dragons...”
4) The secondary purpose of Exposition
ingame books (journals, books, scrolls...)
ambient dialogue (if the thalmor spy would say something to a guard when you visit him; you could overhear it and go on or stay and listen)
optional questions (How did you meet character a, character b? -> above, category 3, could)
environmental storytelling (level design and graphical design, music...)
auxiliary products (card games etc, not for us)
5) Working with a complex background story
To avoid getting stuck in details, the only way is to analyze the relevant key pieces of information and to serve them in bite-able chunks where it is necessary. example:
the ancient crown went missing
has elven magic
the elven kingdom was west of where you are
it was destroyed by a war with the goblin king -> the player only remembers one last thing in each dialogue.
6) The strategy of breadcrumb trails
or: know about the crown
or: realize there are runes with elven magic
or: find a scholar who can translate them
How (method of interaction)
or: read the runes yourself
7) Pitfalls using the Bread Crumb Trail
1) “Maybe the Elves know something!”...
Problem: Player has no idea where the next NPC is and how to proceed with the story.
Their perception is not: “Wow. this is challenging, I should keep trying…”
but rather: “Your game does not work, it is broken and it sucks.”
“go there and do this”
-> pack it, so it does not appear as the designers manipulate the player in a certain direction but rather like “you have this choice, and there will be your reward”.
(Quest Objectives) 2) “Let me tell you a story”…
Problem: irrelevant information gets ignored and disturbs the game flow.
(check the 4 W’s about Motivation and Hook up above for better use)
3) “Red Herrings”
Each bit and piece of information is expected to be relevant and important;
giving irrelevant information (and having the player remembering it without reward)
will make him frustrated.
Player perception will not be “Oh, I was stupid to try that and go there.”
but rather: “Your Game is broken and it sucks.”
8) SHOW EVERYTHING, TELL NOTHING (or: how to pack exposition in the game)
"Exposition is the bitter pill to swallow information; Characterisation can be the chocolate coating to make it more appealing."
a) Speakers Position, Style, and Perception
Framing the Exposition with a believable character -> the information given must be an integral component of the characters own life story.
You should not be able to replace a character by a road sign “bandits this way!” - then, something went horribly wrong!
Ask yourself, what would the characters say, if it was themselves?
Consider topics of their environment, daily life, and social group, plus their unique character.
b) Speakers Messages (Subtext and Analogies)
The subtext is raised out of the worlds background, Plot, the Character, and his/her feelings. The example below from a scene we all know: See, why scene 1 is good, and scene 2 feels “off” because of the perception of Han Solo’s Character we all have?
Whenever you can package Exposition in an analogy using consistent terms of a world, you can avoid making an “artificial, top-down birds-eye analysis” which would break the immersion of the scene entirely. Also, analogies can be understood subconsciously and quicker and be remembered longer, using metaphors and pictures. Example:
Do not say “you need to explain to them their feelings” but rather “tell them, this is normal, this is your anger, and this is your happiness.”
It will get one level closer to the reality of the recipient and less meaning is lost in translation between implied message content and the receiver level.
You do not exactly say what you mean, but portray it. making it more impressive and lasting. This applies only for non-immediate and non-interactive info; that info should all go in subtext and / or analogies! (obviously “run for your lives!” does not go there as it requires immediate action! ;-) ) c) About the Characters Stake in the story
What is the personal connection of the Character? What are his feelings regarding the plot and other characters and the environment? Every speaker should have all of these elements:
(The 5 personal ties of a speaker)
something they want
something they need
something they fear
something they gain
something they loose
And, of course, if possible, every actor should have each different from each other! Some should be the noble part, others the mean ones, some altruistic, some merchants,... d) How much Emotion?
Like in music and painting and theater play, it is best to first give a stronger emotion, and later tune it down, the opposite way will get very hard with writing. “go there.” (how could a voice actor invoke much emotion in this anymore? ;-) ) e) The Player - NPC relation:
Start considering the dialogue from both sides:
What does the player want to / need to hear (for story progress)?
What does the NPC want to / would be willing to tell, and what does he/she usually think of?
“A Janitor is more memorable than a commander, because he has a more personal relationship to his environment, and not all of his character is filled by his assigned role.” “Characters who are not as we expect them, like a commander who is not a fierce strategist, or a janitor who is actually a warrior, are memorable and noteworthy and have character; but the general dummy characters based on stereotypes are killing the credibility of your story.” Exposition is telling. -> direct dialogue The characterisation is showing. -> show emotional reactions on events and plot!
You don't say “he hates the empire” but you find out he was imprisoned and later after a battle that he is in the secret resistance. You can and should split this information over time.
And do this for all relevant characters, as space of the game plot allow it.
Then you come to the point where the player asks themselves “What else might we know about a character?”.
The player will start guessing what kind of person the character is, and most can be left vague, but it will be an interesting actor.
Nobody wants to see the stereotypical actors. The blonde cliche women, the idiot boy, the super hulk, ...rather do some research on the roles of your actors and their possible background and social relations, but most importantly, besides their official roles and their self-understanding, imagine them as human beings. Credible humans are, in doubt, more convincing than perfectly sketched actors for their “roles” who lack any character. That means, in doubt, give your characters 60% persona and individual character that might even conflict with the role their environment puts them in;
and for the remaining 40% try to get a good idea of what role this character players play in their world. Some personas might support their roles, as having chosen them, others might not.
small info bits
dialogue should be the solution to a players problem
the characters who deliver the dialogue and the way of speaking should be carefully considered
try to “get in the head” of the speakers
do it like for a musical, the time horizon of an RPG is similarly short and fluid
remember that you have a tiny amount of time to place information in a fluid and dynamic game environment
thanks for your attention! please send feedback and criticism my way! ;-) have fun