In a recent episode of Nightdive’s Deep Dive podcast, Marc LeBlanc, a programmer from Looking Glass Studios, reflected on the innovative approach his team took in developing audio logs for the iconic game System Shock. These audio logs have since become a staple in game design, providing a unique method for storytelling that resonates with players.
Breaking Away from Traditional RPG Mechanics
LeBlanc began by discussing the design philosophy behind System Shock, particularly its departure from the RPG statistics that characterized earlier titles like Ultima Underworld and would later reappear in System Shock 2. The team faced a common dilemma in action-RPG development: how to integrate D&D-style stats and skills without imposing limitations that could frustrate players who already had full control over their characters. A classic example of this disconnect can be seen in games like Morrowind, where players might swing a weapon but fail to connect with their target.
“The other thing we didn’t like was the state of talking NPCs,” LeBlanc explained. “We didn’t want players to choose from three options and navigate a conversation tree.” He noted that such mechanics felt jarring against the backdrop of a world designed for immersive simulation. The team sought a more organic way to convey narrative without pulling players out of the experience.
It was Austin Grossman, a designer on System Shock, who proposed a radical solution: “Let’s just kill everyone on the station, and you’re just gonna go through their diaries.” This idea not only streamlined the storytelling process but also created an engaging atmosphere for players. Audio logs became a means of delivering exposition seamlessly, contrasting sharply with the more disruptive nature of cutscenes or lengthy dialogues.
LeBlanc acknowledged that while audio logs are sometimes overused in contemporary gaming, they remain an effective tool for narrative delivery. “It’s kind of a prescient sci-fi prediction on Looking Glass’ part: Everybody on Citadel Station has a podcast,” he quipped. This clever observation highlights the relevance of audio logs in today’s media landscape.
Moreover, LeBlanc expressed his continued admiration for audio logs as a storytelling mechanism. He argued that they empower players by offering choices in how they engage with the narrative. Players can decide whether to find a quiet spot to listen intently, explore while half-listening, or charge into battle with the audio log playing in the background. “I think it works because, in a funny way, it’s kind to the player’s agency. By not offering a choice, it allows you to fully inhabit the choices that you do have,” he concluded.
