Little Nightmare Story Telling to fill the gamer emptiness

  • Topic: Non-traditional, unique storytelling technique

  • Lecturer: Megan Cross, Dave Malbig-Tashi Studio Brand & Communication Director

  • Field: Storytelling, narrative

  • Time: 2022.11.17 (Thu) 14:00 ~ 14:50

  • Summary: Intact delivers the know-how of the studio’s unique storytelling technique. I had time to introduce their own storytelling technique that caused more hot reactions than I thought.

■ Studio formation in Tasi-Until Little Nightmare comes out

In many online multi-competition games, story-oriented game markets are decreasing. Tasha Studio received unexpected hot attention as a story-oriented game called Little Nightmare, which has unique game progress. Many were surprised at their own new way of development, not the general story-oriented direction. Megan Cross and Dave Malik introduced their own company and storytelling.

In 2004, they founded the studio with students with extraordinary view. The studio aimed to create a new world that people want to know. In the process, he maintained a long partnership with Sony in Japan, and is creating a new IP after independence. The most representative small, the puzzle platformer ‘Little Nightmare’, which depicts a bizarre fear and bizarre story.

■ Non-traditional way storytelling

Dave Malik emphasized that the studio’s unique storytelling method is different from the existing method. The existing storytelling method was focused on reading, which helped the game, and only to read it, so it was safe to have no weight in the game. There is a limit to delivering only the worldview in the game to gamers.

So the studio focused on making gamers imagined by himself. Gamers visited the story and left room for digging. Gamers can intervene in the middle of the story between the stories. With this attempt, he received more than expected feedback, and Task Studio said he would challenge a new way of storytelling every time he had a chance.
The studio was also different in the process of constructing the narrative of the game. First, set the team members what they want to do first. If you think about it, you will find something related to new ideas and theme background information. Look at the elements of the game together.

After this process, you need to set a clear worldview and story. It is not enough to form a worldview al1. It should be in the same context as the game progress and background. Of course, in the same context, personal themes may enter. The horror game, the scary thing is the subjective area. Based on what happened to the people around you, we come up with a new idea and roll it around.


Anyone can come up with new ideas. However, communication between team members should be preceded. I should be able to determine the world of character I implement and explain it to the team members. This is because the team members can understand the maximum of their own capabilities. I think it’s important to put it here, and the words and thoughts are accumulated, forming a theme and world. After all, the most important thing is what you can do with the idea.

Tasha Studio projected their clear vision in the game. Vision explains what kind of game you make, and you must be able to persuade someone else. The vision is finished in the final process of making a game, but it is also the center of all the studio’s work.

■ Non-traditional storytelling and in Tashi-How are you developing?

The studio in Tasha can now play a complete game, but it wasn’t perfect from the start. He also came up with a ridiculous idea. However, as time passed as the studio clearly set what people wanted.

Furthermore, when a new team member came in, I wondered how to take advantage of individual abilities. With our expertise and values, we focused on what the studio could do well. The journey of the people on the team could be completed.

The game itself allows gamers to participate at the maximum. When I made a game, I thought it was better to make it from the gamer’s point of view. It is because you can’t just stick to that the studio people are good. The balance between the two is important. Artists also need a balance between what the fans want and what they want. There are a variety of gamers, such as people who enjoy thrills and people who don’t like frustration, and balance between gamers who like art and game.

There is no manufacturer who follows the studio’s production method. Looking back at the feedback of Little Nightmare, I found out that gamers actively intervened and wanted this. Throwing such elements like a bait can be unpleasant for gamers. As such, gamers were able to find out what they liked in Little Nightmare 1 and centered in Part 2.

■ Tasha’s unique narrative delivery method -The empty game that only farm

Tasha Studio has revealed in detail how to make the game of the game. Dave Malik explained his major in English literature. When English literature reads again, it is attractive that the author can read the double tracks set by the artist, and can be a theoretical himself. Readers who show their imagination in the theory are not just looking at them.

When creating the story of the game, it does not start with the double track from the beginning. The main theme, such as the outline, main story, and lighthouse. As I gain weight there, I expand to the worldview I want. The double tracks I have left are so refined, and I can add specific elements, such as that there should be such a character. The feeling of the game in this process is also changing. The central theme can not be shaken, and flexible storytelling can come out.

This is the reason why it is successful because it can throw things to gamers. Previous games made gamers feel emptiness at the end of the game. If you pass the story quickly and focus on growth and farming, you will feel empty when the game is over. On the contrary, the studio game I used to make the best use of the format we created in favor. Gamers can also play an active role in the game when they use it well.

In this way, the narrative has been steadily developed. Little Nightmare is impossible to talk between characters. It was impossible to talk with the character, and both the art department and the audio managers were nervous. Nevertheless, the sound only showed the character and the worldview and delivered it uniquely. I think that our plans encouraged gamers to participate in the game form. There was such a catalyst, making it more immersive and concentrated.

This changed the laws of the story of the general game. Normal cinematic video explains the character’s situation. But we work hard to form the character’s atmosphere and context.

Lastly, he added about the study method of the studio. Dave Malik says this non-traditional storytelling is not recommended to others. For this reason, it is very difficult to change in the middle. It looks natural in other game development processes, but I heard why this storytelling method is even harder.

Furthermore, you should be able to be the main character in the game. Gamers and Tasha Studios are in a close relationship. You must put things instinctively.

When developing a game, I need to know what kind of game I want to make. This is more so because our game has no explanation. It may be burdensome for gamers to solve without explanation, but it was eventually. It is certainly that people can be in the world view by defeating the theme and spreading the worldview. I had to make it easier to fall than to make it look good.

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