1998: The Toll Keeper Story : DEVLOG #08 -STRUCTURING THE NARRATIVE

DEVLOG #08 -STRUCTURING THE NARRATIVE

⚠️ SPOILER WARNING: This devlog discusses the narrative structure, mechanics, and potential plot outcomes of the game. If you wish to experience the story without knowing these details, please read at your own discretion.

Hello Everyone!

I’m Riris. For the first time ever, I fully handled the narrative design and wrote the story/dialogue for 1998: The Toll Keeper Story (hereinafter referred to as 1998), alongside Plad, of course. 1998 is a narrative-based simulation game, meaning the story concocted within the game directly influences the gameplay. 

In designing the story or narrative of 1998, we used a linear narrative structure where the sequence of dispersed events will branch into different endings, yet still remain within one main story thread.

MAIN CHARACTER

To support the narrative structure mentioned above, I had to strongly define the personalization of each character. From demographics, traits, costumes, and facial expressions, to the type of job each recurring character has in this game. Everything has a meaning related to the narrative and the gameplay.

The main character, Dewi, is defined as a woman in late pregnancy. A pregnant woman has different daily needs compared to a non-pregnant woman. From food, vitamin intake, and milk, to an environment that supports her psychological condition. Everything needs to be of higher quality and sufficient quantity.

Dewi’s job as a toll keeper requires concentration, precision, communication, and the ability to understand the diverse ‘conditions’ of every driver passing through amidst a chaotic national situation. I attempted to design a narrative structure linked to the main character’s persona in great detail across various aspects of the gameplay

Besides matters related to mechanics or game progression, I also had to design a narrative that influences player emotions. Some of the things I implemented are:

Events conditioned to provide dilemmatic choices. For example, the player must choose whether or not to let a driver suspected of human trafficking pass. The choice taken by the player won’t impact their money status, but it will affect the ‘Newspaper Headlines’. This makes the player feel as if they ‘have’ the power to change the world situation and feel satisfaction (or disappointment) in their choice.

Covering a driver’s shortage WITHOUT getting money back, but receiving items instead, like lunch, rice, milk, etc. This choice is narratively expected to provide player satisfaction (or again, disappointment) that isn’t measured solely by money.

I think that’s all I want to share regarding the narrative design of 1998 for now. Next time, I will share more about how we concocted the narratives for several recurring characters in this game. Thank you for taking the time to read my devlog entry, and ciao!!