Storytelling Tips for beginning Campaign Teams <LONG>

Hey y'all, I wrote this article a while ago, but it didn't get much attention and it never got posted in the tutorials section at warcraftiii.net after I sent it multiple times. Considering how many new campaigns are coming out, I figured that after four months it was time to revise and repost it. Anyway...

I've played a few of the player made campaigns/RPGs that are currently released and while many of them are very noble efforts, I thought I'd offer some advice to people who have made or are making campaigns and RPGs right now. I'm a theater major, so mainly I wanted to offer some advice on what at current is the most universal flaw in what I've seen thus far - storytelling. I myself would love to make a campaign, but being a senior, I'm too busy/lazy to do it. For that reason I shall live vicariously through you creative minds out there, and offer some tips to help you make your stories more interesting and thus that much more enjoyable.

GENERAL STORYTELLING TIPS
George Lucas once said that a special effect without a story is flat-out boring. And he is quite correct. Even if your layout is superb, your triggers flawless, and everything balanced to perfection, you can still fall flat if there isn't a story being told, or if it's being told poorly. So, here's how to begin:

- Introduce your characters. It can just be a .txt file, but regardless of how you do it, it's a lot easier to start a campaign if we have some idea of who the hero is that we're controlling, and what the surrounding situation is. Alternately, you can introduce your character in an opening cinematic, giving us an idea of where the action is taking place, who the characters are, and what the immediate conflict is. DON'T put a quick three sentence blurb on the loading screen and then thrust the player straight into things. If you want your campaign to be more than a bunch of neat maps, you need to bring the players into the story in the first mission.

- Create an inciting moment. An inciting moment is the point in your story, usually early on, that gets the main plot moving along. For example, the inciting moment in the Warcraft III Prologue is when Medivh tells Thrall to sail west to Kalimdor. It establishes the action for the Orcish campaign, with Thrall finally landing in Kalimdor. In the Human campaign, the inciting moment is when Arthas first encounters the Undead, leading him down the road that ends with the summoning of Archimonde in Undead mission 8. The inciting moment doesn't need to be in the first mission, if your campaign is long enough, but it should happen somewhere within the first third of the campaign.

- Be aware of what is at stake. Stakes are very important in storytelling, because they make the actions and decisions of the characters interesting, and keep the players playing. However, it's often possible to skew the stakes in such a way that ruins the story, or even makes it comedic. Keep this in mind when determining the difficulty of your missions: If the stakes are lower than the difficulty of the goal being achieved (ie saving Timmy from an army of twenty Archimondes), it's just silly. It's also silly when the stakes are far higher than the difficulty at which they're achieved (ie having to kill twenty Timmys in order to stop everybody in the world from dying instantly)
Another problem arises when dealing with stories set in pre-established universes. When writing stories in established worlds (like the world of Warcraft, or the Star Wars Universe), it sometimes is a bit much to raise the stakes drastically high. Your characters don't have to be trying to keep the world from blowing up. Indeed, in the world of Warcraft, it diminishes the core story if you make your characters more important than Thrall or Arthas. The Star Wars novels are an excellent example of how ludicrously high stakes ruined the expanded universe. For those of you who haven't read them, almost every Star Wars novel or series placed the entire New Republic in dire jeopardy by some new, super-powerful threat. Not only does it strain credulity, but it can often ruin the feel of the world, which is often a major turnoff. Sometimes it's fine if the fate of the whole world doesn't rest on your character's shoulders. They could be just fighting for their life, or the lives of their people, or fighting for personal power, etc...

- Do you want your plot to be simple or complex? A simple plot is a plot where the main character (a.k.a. the protagonist - the person whose actions makes the story progress) has an objective that doesn't change over the course of the story, regardless of who or what the antagonist is. (An antagonist is any person, place, or thing that stands as an obstacle to the protagonists objective). An example would be RoK, where Krill at the beginning, middle, and end wants to get the herbs. This never changes. A complex plot then is one where the protagonist makes a discovery at a certain point in the story, and their objective changes. An example of this would be when Arthas discovers that the plague turns people into the undead, and in reaction to this discovery decides to slaughter the people of Stratholme. While there's nothing wrong with a simple plot if done well, I've found that complex plots are often more compelling.

- Make your characters active rather than passive. When I first played Warcraft III, I somehow felt as if the Undead campaign was inferior to the Human campaign, despite some very fun, solid missions. It then occurred to me, the Human campaign had a much better story. Why is that? Because in the Human campaign Arthas (the character you're in charge of) makes the decisions that bring him to claiming Frostmourne in mission 9. He chooses to slaughter the plagued citizens of Stratholme, he chooses to follow Mal'Ganis to Northrend, he chooses to burn his own ships rather than return to Lordaeron, and he chooses to claim Frostmourne even though he knows he will pay a price. Your objectives are Arthas' objectives.
Then comes the Undead campaign. Guess what? Arthas isn't in charge anymore, Tichondrius is. Go there, do that, kill him, raze this... Granted, I don't know how one could capture the flavor of the Undead if Arthas wasn't a pawn in this campaign, but it makes for far less compelling storytelling if the character you're made to identify with is somebody who isn't calling the shots. For this reason try to guide the plot by the decisions and objectives of the main character. That's not to say that things can't happen outside the control of your main character, but your main character should at least be the one who decides how to react to a given situation.

- Learn how not to write dialogue and plot. I've seen on quite a few occasions uses of expository dialogue. Here's a basic example of this:

JIM: "Hi Bob."
BOB: "Hello Jim, my brother in law. How is Susie, your wife and my sister?"

The problem with this exchange is obvious. Jim and Bob know how they're related, and they know who Susie is. The only reason Bob would say what he says is to tell us (the audience, who does not exist in the world of the story) that they are related. In other words, it does not get the characters what they want, which means that the action comes to a stop while we are spoon-fed information. A good example of how to deal with this problem can be taken from the Human campaign. The manual explains how Arthas and Jaina had a love affair not too long ago. However, nobody brings it up in the game. And why would they? There's no need to. Yet at the same time this knowledge illuminates the relationship between them. While movies and plays usually shouldn't resort to presenting us with information before the story begins, in the case of Warcraft III campaigns I think it's a good idea to establish the backstory, though others may opt to use other, more cinematic devices.

Anyway, dialogue. When you're writing dialogue for your characters, it can be useful if you try to think of it in terms of giving each character an objective, i.e. something they're trying to accomplish through their words and actions. In most cases this isn't hard, considering that Warcraft III is a lot about killing stuff. However, in the case of non-battle scenarios, or conversations between allies, it can serve you well to think of your characters as trying to accomplish something, rather than just sitting around spouting out information that everybody already knows.
Another good tip about dialogue is to make sure that the characters only say what they need to say. If two characters are about to fight there's no need for them to taunt each other for ten minutes beforehand, unless one of them is stalling for a reason. (I'm kinda picking on Decide here about his Gul'Dan/Durotan scene in The Saga of Azeroth, but I'll talk more about that later) Not only does it spare us having to sit through dialogue that goes nowhere and doesn't progress the plot, but it also saves you time in writing it.

- Use cliches to your advantage. Cliches aren't always a horrible thing, but like many dramatic devices, it's better when they're reversed at an opportune moment. Blizzard does a lot of this. Arcturus Mengsk, who we at first take to be the usual rebel leader type, turns out to be a maglomaniac. Kerrigan becomes Queen of the Zerg. Arthas the royal Paladin becomes a Death Knight. The bloodthirsty Grom Hellscream dies after overcoming the rage that Mannoroth had put into him. And so on and so on. The reason that the campaigns don't star characters like Uther the Lightbringer or Antonidas is because they're cliched. They have nowhere to develop as characters. If you're doing your job right, your main characters will not be the same as they were when the story began. Use plotting and dialogue to reflect this change.

- Proofread your scenes. If you're writing in a different language (And I've seen quite a few cases of this), be sure to find somebody who's native to that language who can proofread the campaign for you. It's just sorta jarring when you go off to fight the 'Undeads'. It's like when Ewan McGregor's accent slips in Black Hawk Down - it just takes you out of the story for a bit. Yeah, it's a nitpick, but an easily remedied one.

NOTES ON THE WORLD OF WARCRAFT

Just a few continuity points, seeing as how not everybody played Warcrafts I and II, or even owns the Warcraft III manual (it's on the CD, but they don't know that). These rules aren't hard and fast, but I'm including them for the sake of canon nuts like myself.

- Don't put Blizzard heroes into your campaigns. For one, it's easy to butcher the character. For another, it defiles continuity. Thirdly, we already know their stories, and it's better if you come up with a new one of your very own. Fourthly, if you put voices in your campaign you're bound to sound nothing like the original. Have your characters talk about them, maybe get letters from them, maybe throw in a cameo if you need to, but by no means try to throw them into the mix. Poeple won't appreciate it. We're just jerks that way.

- As an addendum to my previous point, don't make campaigns that are supposed to be 'sequels' to the original campaigns. Once again, we won't appreciate it, especially when The Frozen Throne comes out and your story no longer fits by a long shot.

- Review the storylines. Yeah, there's some discontinuity between Warcraft II and the Warcraft III manual, but overall the whole thing is there. In other words, just know a little something about the setting of your campaign, in terms of history, inhabitants, etc... A nitpick, yeah, but still disruptive.

EXAMPLES OF STORY PROBLEMS IN EXISTING CUSTOM CAMPAIGNS

Just to illustrate my points, I'm including here some particulars taken from community projects. I'm not trying to diminish the efforts of the creators in any way, but merely use them as examples of where there is room for improvement in how the story gets told:

(DISCLAIMER - I know I'm hardcore nitpicking here, so don't get too upset, k?)

Rise of Krill - This infamous campaign had numerous story issues, mostly relating to the fact that Warcraft continuity was thrown out the window. While we have been told in the main Orc story that the Orcs have reformed their ways, all of Krills forces are clearly still corrupt and evil. Nor does continuity ever reference the Orcs using 'herbs' from Kalimdor to fuel their bloodlust. The random appearance of Medivh also made no sense. And the ending, while entertaining, features Krill slaughtering a bunch of random Humans for no apparent reason, while at this point the Humans in Lordaeron should be pretty much slaughtered anyway. For the player this story is very confusing, which is unfortunate given the scope of this project.

Lament - One of the most solid campaign set in the World of Warcraft that I've seen, with a decent story and great mission design. However, it exemplifies a few of the points I was making earlier. First, the dialogue needed extensive proofreading, as the English in it was flawed in places, though not fatally so. Secondly, it used Kel'Thuzad, which isn't a biggie, but like I said earlier using existing characters is tricky. Thirdly, as far as canon goes, it wasn't explained how a Lich broke away from the "iron will" of the Lich King. Another canon problem is that Kel'Thuzad was with Arthas the entire time leading up to Archimonde's arrival, at which point the Lich King was usurped and Kel and Arthas were left without an army to command. See? Didn't I say using existing characters was tricky?

The High Elf Campaign - Another solid campaign in terms of design, but with a somewhat flawed story. First, this campaign creates problems by including Sylvanas Windrunner into the story. Secondly, it relies upon a made up city (not a big deal, just pointing it out. Thirdly, according to continuity the High Elves are supposed to be driven completely out of Quel'Thalas by the Undead, which doesn't mesh with the whole idea of getting revenge on them after a catastrophic defeat. Fourthly, and this is REALLY getting nitpicky, it's summer the whole way through, when it's clearly winter at that point in Lordaeron (Only Quel'Thalas gets away with having a permanent summer).

You get the point. Enough. Really. Ok, I'll stop. Now.

-Weremuppet

Mh... Interesting. GJ Weremuppet. I liked the examples, hehehe.
It's pretty lame that none have read this(ok, 15 guys).

Hey, if you like it you can always help me out by linking people to it on other sites. If only stupid warcraftiii.net had posted it. Hehe. Anyway, thanks for whatever help you can offer!

-Weremuppet

nice. ive been steaming for months about new campaigns' lack of continuity with the warcraft world and grammar. that warhazard thing was translated from german. badly. all the unit names in cinematics when it said who was talking were not translated. Soldat: Us must going there over" or something like that. its like they used some translation program on random parts of the campaign. it was terrible. oops sorry for rambling

No more thoughts/comments? Please people, help me out here!

-Weremuppet

I am very, very careful with story. I really like to tell stories and make good stories. I always create characters with a lot of depth (even if at first they seem flat, they always have secrets "to be revealed later").

Your tips are quite good. I really think the comunity is too much involved with modding and forget the story. There are many who give up when they can't get a team to make all the modding, instead of continuing with what they already have.

I remember a extremely good idea for a campaign (called "Eye of the Storm") in this forums. Unfortunately, the author decided to not make it for lack of a team. I would definitively play that one, the idea was very good.

Characters, Plot, plot twists, a "hook" to bring the attention of players, good gameplay and a few surprises here and there can make a campaign, even an unmodded one, into a fun campaign. Isn't that what matters?

About Warcraft continuity: I think campaigns that are set in Azeroth's world must both have originality AND follow at least the basic story.

I am making my own campaign. Warcraft: The Saga of Azeroth is a multi-episode storyline retelling the stories of Warcraft. Episode 1 is already out, and shows events that happens before Warcraft 1. I am now making Episode 2, which will have events during Warcraft 1's timeline.

I am following the basic story of the game, but I've chosen to make a new perspective in the facts. Like a movie based on a book, I've changed some things, but kept the story the same (compare with Lord of the Rings: the movies have a LOT of differences from the books, but the basics are the same. My campaign delves in the past of Warcraft but bring new characters and new twists, remaking the Warcraft mythos).

(If anyone want to play an unmodded, heavely story-based story with a good gameplay, you can find the link in my signature.)

Very interesting guide. For things like a city in Quel'thalas- you can always create exceptions. It could be a city that barely survived the Undead, and the rest of the kingdom was utterly destroyed. The same as a lone group of Protoss on Aiur, that several campaigns did for StarCraft.

Would you mind if I used your guide as an article at the Star Alliance site, Weremuppet?

Decide - Thanks for the feedback. I just happened to have started your campaign, and though I'm not very far in it yet it looks very solid. I look forward to seeing more!

Magic - You can post the article anywhere you like, just be sure to attach credit and I'm all cool about it. Thanks!

-Weremuppet

I know I'm sounding desperate, but could y'all PLEASE help me and reference people in the greater community to this article? I have a microeconomics test, so I can't do it. :( Thanks!

-Weremuppet

I wish more campaign makers would get this through their thick Skull's (You can decide if pun is intended).
The two campaigns with good stories I've found are
Deicides retelling of the Warcraft world from the other side (You did an excellent job congradulations.)
and Wanderers of Sorceria by Razor Claw X which only real weakness is he uses to much similiar stuff from SC campaigns(Or if you really dislike animeish stuff which it has a large influence of).

I think you pretty much explained all that is needed. It is time someone gave a good explanation of how to do it.

It is disturbing to know that such a good thread is constantly being forgotten by the comunity, and almost no one replies to it. Damn...

I guess most people enter here, do not bother to read and think "What does this guy thinks? I already know how to make a good campaign." What a shame!

People should give more attention to this thread... :bgrun:

Whover started this thread(sorry, I forgot your name ): ), these tips are excellent!!!!These will help me alot because I'm just starting my own campaign(but I'm not telling the name for "elements of surprise...) Anyway!!!, keep up givng us tips to those newbies at story making!Thanx a bunch!!!

I just made a few edits to my post, adding a little more info and cleaning it up some. I also wanted to post my thoughts on Decides The Saga of Azeroth, but the original post was too long. Thus, I post my thoughts here:

The Saga of Azeroth - At current, this campaign stands as the best story situated in the world of Warcraft. The missions are well designed, the continuity close to near-flawless, the English is entirely proper, and for the most part the dialogue works. However, there are a few storytelling nitpicks I have about it thus far. First, the cutscenes are overly too long. If the triggers and timers in them could be cleaned up some, I think the story would be that much better for it. Compounding problem #1 is an issue with the dialogue - it's too wordy (much like yours truly). Not only does the long dialogue string out the scenes more than necessary, but it's also unbefitting of the Orcish characters. Gul'dan I can see as being articulate and intelligent, but Ur'aman and Blackhand sound like a couple of fancy English majors themselves. Another example of this is the exchange between Durotan and Gul'Dan that I mentioned earlier - they argue for three minutes before they fight, but why? Moments like this can be shortened and cleaned up, leaving more room for action and less room for babble. Remember that computer games, like cinema, are a visual medium, meaning that actions speak louder than words.

Great work Decide, I hope this criticism helps!

-Weremuppet

Brilliant thread, very good points made. This should be sticky.

The time for the Masters of the Universe to come out is now... the Humans have caused a large hatred of war against the Elves, since their immortality. Hundreds of Elves and Men have fallen on the slopes of Mount Tareglad. The Dwarves have delved greedily and created the vast mountain fortress of Khazad Dum, and are preparing a army to decimate the goblins once and for all at destroying their kingdom of Dalran... the Kingdom of Glittering Caves... but there's one thing thats all of the races have been searching for... the Giloplex... the immense power to control the world but its concealed in a single object...

Its kinda a cinematic storyline... half cinema and half game... so its all good. Nice thread there Weremuppet