Forging compelling narratives in sprawling open-world games like Marvel’s Spider-Man 2 and Alan Wake 2 demands meticulous planning and a collaborative spirit. In a recent interview, Sam Lake, Creative Director at Remedy Entertainment, and John McAdam, Senior Narrative Director at Insomniac Games, shed light on a crucial stage that lays the groundwork for these narrative-driven experiences: pre-production.
During the interview, Both developers stressed the importance of building a solid foundation before a single line of code is written. They employ various techniques to map the story’s arc meticulously, ensuring all team members are aligned. Whiteboards, index cards, and detailed story treatments become their weapons of choice, shaping the narrative journey and establishing emotional beats.
This pre-production phase isn’t just about meticulously plotting every twist and turn. It’s also about creating an environment where open communication and feedback flourish. Lake and McAdam champion a culture where every voice matters. Team members are encouraged to voice concerns and propose alternatives, leading to a richer, more nuanced narrative tapestry.
“I don’t know, I am pretty basic and old-fashioned. I love working on a big whiteboard. And what I did for this and what I did for control, is that I have three helper structures: the three act structure, the hero’s journey, five or seven stages of grief. I just mapped them all on the top of the whiteboard, and they are not any kind of a straight jacket. They are just for me, when I feel that I am now slightly lost or not getting the right kinds of ideas, I can always glance up and check that, “Okay, yeah. Something like this,” so it’s just a helper.”
Sam Lake
This may sound like a no-brainer, but pre-production is often the first phase that gets shortened. The reasoning is that it doesn’t help finish development, and you can never say when you’re done. It’s the idea and planning phase, but many executives consider it a waste of time. However, without proper pre-production time, you’ll have games where missions feel put together wildly or short, like Call of Duty: Modern Warfare 3.
Pre-production also tackles the delicate dance between creative freedom and narrative cohesion. McAdam shared the challenges of crafting a story for two playable characters like Peter Parker and Miles Morales in Spider-Man 2. Striking a balance between their arcs while maintaining a unified narrative flow requires meticulous planning and constant iteration.
Lake echoed this sentiment, describing the evolution of Alan Wake 2’s story. While the core vision remained remarkably consistent over a ten-year gestation period, pre-production allowed the team to adapt to technological advancements and refine gameplay elements, ensuring the final product stays true to its essence while embracing new possibilities.
“Yeah. We had a team that our project manager, she coined it VASE, V-A-S-E, which is, I think it’s Vision and Strategy, Execution. I don’t know. It wasn’t a great name, but what was great about it is that we would have a director from every department be in the meeting, and we would meet very often, several times a week, and we would get together and any problems that came up we would talk about with the team, and it was a team of really creative, great people who would always help each other out.”
John McAdam
Ultimately, Lake and McAdam’s shared insights underscore the vital role of pre-production in crafting emotionally resonant narratives. It may not bring the game out faster, but it helps the overall process. It’s a stage where collaboration, communication, and meticulous planning build a sturdy foundation for an unforgettable gaming experience. By investing in this crucial phase, developers like Lake and McAdam pave the way for open-world adventures that captivate players long after the credits roll.
