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Unfortunately, there are some problems with this approach, but they’re ones that I feel like I have a handle on how to address. This is great for writers, since they can black box things and not have to worry about when or how the preconditions are met, nor about anything else that might get in the way of just immediately writing a story. In this way, it’s similar to how Naughty Dog handles the non-scripted dialogue in The Last of Us, or how Left 4 Dead handles character barks, or how Heaven’s Vault handles its whole plot, where the content is disconnected from all other content, put into a bucket, and then checked at runtime against preconditions. It’s interesting, though I wish it went more in-depth on why they made some of the decisions they made. In Wildermyth, there are characters with Aspects and Hooks to them, and when it comes time to figure out what events are going to happen, it looks at the stable of available events, sees whether it has the right characters with those Hooks or Aspects, then casts them in those roles, saying dialogue that is written such that the writer knows nothing about those characters except that they meet some of the preconditions. (Note: this is one of those blog posts that I write in an hour to get an idea out of my head, I apologize if it’s less baked than it should be.) How Wildermyth Handles Narrative Some of this interest has been because I’ve been playing Wildermyth of late, and little things have been, if not bugging me, then getting my imagination going. I’ve lately been watching a bunch of GDC (and other game conference) talks, specifically about how to do narrative when you have to worry about the player doing something stupid and unexpected.