The next tool he described was the "character in a box." This is a design tool when a character delivering important information isn't physically in the game world, and communicates with the player from an inaccessible location. Anything from a mythical artifact, to a note, to a pocketwatch with a secret on the back, fits this category. t become "invincible objects" that you can anchor storytelling possibilities to. If your game doesn't let players destroy inventory items-just move them from the world into inventory. The first of these solutions was to embed narrative story information in in-game objects. Skipping over the techniques that linear games use to advance the story (cutscenes or invincible non-playable characters), Loredo advanced into the "easiest" solutions designers can use to ensure that key story points are delivered to the players. Loredo broke the different tools for grappling with emergent story possibilities into four categories, ranking them by "difficulty," which he measured as how much design budget was needed to account for these possibilities. Here's how Loredo broke down the tools that Wolfeye uses to wrangle and imagine all that content Quick fixes If the sheriff is a key path forward for Weird West's story, that presents a number of design challenges and branching ends to account for. In Weird West, a player can befriend a local sheriff, they can also shoot the sheriff, they can also lure the sheriff into a fire tornado that they started, but in such a way that they are not directly responsible for the sheriff's death.
Loredo's fundamental principle was that immersive sim narrative designers are trying to wrangle with a genre where the "verbs" that define gameplay can "hit" story elements. At GDC 2022, Weird West narrative designer Lucas Loredo discussed this particular problem, and offered some useful techniques for immersive sim developers to manage the multiple narrative ends that can emerge in this game genre.
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