So, back again, are we? Ready to hear the rest of the story? I hope so. Sit down, shut up and stop that fidgeting.

Now listen: some games just do not need a story, and when one is unnecessarily shoe-horned in, it only subtracts from the overall feel of the game. Mario, for example works extremely well because the story is not over-complicated. What few plot twists that occur in the platform games (Mama Peach? I'm your mama?) are usually humorous asides that don't really have any bearing on the basic gameplay, as you are still following the same pretty much linear path towards a victory. Paper Mario is the exception this. Frankly, I don't think they could stuff quite enough plot into those games, they are just that damned funny and well-executed.

But beat 'em ups and sports games really do not need to have a storyline fed into them when they are pretty much self-explanatory. For me, if a fighting game has any more plot than "So there was this big fight, yeah?" I consider it entirely unnecessary. What on Earth is the point? A group of people get together and beat the snot out of each other. End of discussion. After all, you don't go to a boxing match and ask the individual pugilists why they decided to box, what they hope achieve and how they feel this bout will change or improve them as people. It's a fight! Two guys (or gals, if you have enough money) wailing on each other until one can't stand up any more, that's all that's needed to get the motor running and to enjoy the experience.

Can you imagine FIFA with a running plot line? Maybe a young footballer, seeking to make his fortune by training really hard to become the best footballer that has ever graced the pitch �and at the same time winning over the heart of the beautiful, but cynical non-football fan girl he is in love with? Aw, that's so sweet! It brings a tear to my eye, and a bucket to my hand. It's football. It's a game. You play it to win, that is story and motivation enough. It reminds me of Ridge Racer and R: Racing. Okay, do those girls were cute, but do we really need a pointless rivalry story to go alongside the driving of the fast cars?

The answer: No. Stop being silly. And stop fidgeting.

So if a games does need a plot, then what should it be?

Well, first and foremost, we should apply the Iserian principle set out in the first article. The plot should be present, but not so much as to smother the interactivity and the ability of the player to get themselves heavily involved. The main trunk of the plot should be there all the time to anchor the player to the main idea, but at the same time give them the freedom and scope to find their own paths and means of enjoyment. But these paths themselves should not be so disparate and that they cannot be a line back to the main plot if need be. Equally, however, they should be different enough in order that the player feels that they are entering a completely different situation �a microcosm of the main story.

Characters are possibly the most important part of a story. Without characters to relate to, to feel for and �very importantly, to dislike, then the whole thing will grind to a halt. After all, without the sneering, arrogant face of Wesker, what would the Resident Evil games be? If you could not fall instantly in love with Princess Yorda, would Ico be as captivating? And laughing along with Laharl at the over-innocent Flonne in Disgaea turns the game from an excellent exercise in strategy, to a piece with real heart and enjoyment.

The second valuable aspect of a good story is obstacles to overcome that drive forward character development within the game world. These obstacles cause both the player-character and the player to grow inwardly towards the story and deepen their participation within. The young protagonist in Silent Hill 2, for example is fighting a battle not only against the demons released upon the town, but also his inner demons and the emotional resonance that the town has for him as well. As such, the character grows from being an emotional wreck to a sturdy and better-rounded person. So too does the player grow in understanding and learning about the characters' journey to finally laying to rest the ghosts of the past.

The best games have that "just one more go" feel to them, or as I prefer it "What's over that hill?". "What's over that hill?" means that the player is drawn through hints and gentle guidance to explore far further into the game than they would normally. The best examples of this are the Legend of Zelda games. Whenever Link comes across an obstacle he cannot pass, a mental note is made in the mind of the player to revisit later when some new equipment is acquired, or a geographical shift is made. These subtle trails of breadcrumbs encourage the curious player to investigate what they do not know �to throw caution to the four winds and step off the beaten track to find more, much more than meets the eye.

Much of this does, however, come down to the type of game that you like to play: for the more casual gamer, a quick blast on FIFA is all that is needed to satisfy the urge to game. This is the reason that a plot would be entirely superfluous in a football game, there is not time or need to enjoy it. On the other hand, for those who take this hobby far more seriously, an engaging plot is exactly what is required to keep them coming back to the machine after long hours of work at the office, school or rocket ship, if you're an astronaut. Games are made to be enjoyed, and it is a matter of personal preference that decides how you enjoy them, one man's epic is another man's snore fest. And one woman's Sims is everyone else's nightmare.

Iun Scott-Hockley
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