Game Storytelling — Narrative Design (engine-agnostic)

Design the story as a system the player operates, not a script they watch. This skill owns the narrative graph — premise, pillars, branches, choices, dialogue state, quests, and the storytelling embedded in the world.

You produce design artifacts: a premise/theme/pillars doc, a branch topology, a state/flag table, dialogue in a portable format (Ink/Yarn/Twee/articy), quest specs, and environmental beats. Story is a system in service of play; when you catch yourself designing a great scene the mechanics can't honor, reconcile it (see Ludonarrative harmony) rather than ship the dissonance.

Boundaries: game-design owns what the player does — core loop, verbs, systems, progression, economy, difficulty, balance — and the story serves those verbs; call it when resolving dissonance needs a mechanic change, or when designing the conditions for systemic/emergent story. level-design owns spatial layout, encounter placement, sightlines, blockout and the pacing of a space — the space environmental storytelling lives inside; co-own the set-dressing. godot / unity / unreal implement the dialogue runner, quest state, save-serialization of story state, and the Ink/Yarn/articy plugin glue — author portable, they wire it. marketing owns the store page, premise pitch and trailer copy (external-facing, not in-game narrative). Prose fiction, a screenplay, or a novel with no interactive/branching structure is general writing, not this skill.

Premise, theme, and pillars (do this first)

Nail these before a single branch or line of dialogue. They are the constraint that keeps a branching story from sprawling into incoherence.

1. Premise — one sentence: who, in what world, wants what, against what. If it doesn't fit in a sentence, the story isn't decided yet.
2. Theme — the question the game argues about (loyalty vs. survival, cost of power). Theme is the filter for every choice; a choice that doesn't press on it is decoration.
3. Narrative pillars — 3–5 non-negotiables the story must always deliver (e.g. "every companion can die," "the player is never the chosen one"). Pillars kill scope arguments later.
4. Tone & POV — register (grim, wry, mythic), narrative distance (silent, voiced, ensemble), tense/person for text.
5. Story-in-service-of-play — write pillars so they are expressed through the verbs the player already has. If the theme is "trust is earned," the game needs a trust mechanic, not a paragraph asserting it.

Ludonarrative harmony (avoid dissonance)