EPISODE 35: ENVIRONMENTAL AND EMERGENT STORYTELLING

Episode 35: Environmental and Emergent Storytelling | 21 July 2026

Stephen and Trent assess the intersection of environmental and emergent storytelling practices in physical and digital realms. Beyond discussing how meticulously designed games like Dark Souls and historical cities like Madrid communicate complex narratives through geography and artifacts, the duo examines:

  • Narrative architecture as understood and applied in the theme park industry;

  • Saturating environments with genre conventions to immerse audiences in alternate realities;

  • How narratives arise from unique player decisions and the chronological order in which they occur;

  • “Flattened” history and the coexistence of cultures across space and time;

  • Piecing together a world’s substructures and social forces based on fragmented information;

  • Archaeological “digs” through the “tiramisu of history”;

  • Ill-defined, player-driven storytelling versus fixed, designer-driven narratives;

  • Comparing and contrasting intentional design with organic, multicultural evolution;

  • Strategic storytelling as a way to encourage discovery learning;

  • Escaping the “lure of endless worldbuilding”;

  • Using environmental micro-stories to “show” rather than “tell”;

  • Communicating a world’s complexity through sensory experiences; and

  • Reading environmental cues to connect the past, present, and future.

Episode References:

  • Coen, J. & Coen, E. (Directors/Writers). (2018). The Ballad of Buster Scruggs [Film]. Annapurna Pictures; Netflix.

  • Jenkins, H. (2004). Game design as narrative architecture. In N. Wardrip-Fruin & P. Harrigan (Eds.), First person: New media as story, performance, and game (pp. 118–130). The MIT Press.

  • Carson, D. (2000, February 29). Environmental storytelling: Creating immersive 3D worlds using lessons learned from the theme park industry. Game Developer. https://www.gamedeveloper.com/design/environmental-storytelling-creating-immersive-3d-worlds-using-lessons-learned-from-the-theme-park-industry

  • Jackson, M. (Director). (1991). L. A. Story [Film]. Carolco Pictures; Tri-Star Pictures.

  • Smith, C. (2021). How the word is passed: A reckoning with the history of slavery across America. Little, Brown and Company.

  • Bethesda Game Studios. (2008). Fallout 3 [Video game]. Bethesda Softworks.

  • Bethesda Game Studios. (2011). The Elder Scrolls V: Skyrim [Video game]. Bethesda Softworks.

  • Team Ico. (2005). Shadow of the Colossus [Video game]. Sony Computer Entertainment.

  • FromSoftware. (2009). Demon’s Souls [Video game]. Sony Computer Entertainment; Atlus.

  • FromSoftware. (2011). Dark Souls [Video game]. Bandai Namco Games.

  • FromSoftware. (2022). Elden Ring [Video game]. Bandai Namco Entertainment.

  • Monolith Productions. (2014). Middle-earth: Shadow of Mordor [Video game]. Warner Bros. Interactive Entertainment.

  • Mojang Studios. (2011). Minecraft (Version 1.20) [Video game]. Mojang Studios.

  • Iron Gate AB. (2021). Valheim (Version 0.202.14) [Video game]. Coffee Stain Publishing.

  • Traveller's Tales. (2017). LEGO Worlds [Video game]. Warner Bros. Interactive Entertainment.

  • Barone, E. (2016). Stardew Valley [Video game]. ConcernedApe.

  • Naughty Dog. (2013). The Last of Us (Version 1.0) [Video game]. Sony Computer Entertainment.

  • Irrational Games. (2007). BioShock [Video game]. 2K Games.

  • Nintendo. (2017). The Legend of Zelda: Breath of the Wild (Version 1.6.0) [Video game]. Nintendo.

  • Brown, M. (2023, May 9). How Nintendo solved Zelda's open world problem. Game Maker's Toolkit. https://gmtk.substack.com/p/how-nintendo-solved-zeldas-open-world

  • Martin, G. R. R. (1996–2011). A Song of Ice and Fire (Vols. 1–5). HarperVoyager.

  • Crumb, R. (1979). A short history of America [Comic]. CoEvolution Quarterly, (21).

  • Game Science. (2024). Black Myth: Wukong [Video game]. Game Science.

  • CD Projekt Red. (2015). The Witcher 3: Wild Hunt [Video game]. CD Projekt.

  • CD Projekt Red. (2020). Cyberpunk 2077 (Version 2.0) [Video game]. CD Projekt.

  • Jaki, R. (Creator). (2022). Cyberpunk: Edgerunners [TV series]. Netflix.

  • Borges, J. L. (1942). Funes the Memorious [Short story]. La Nación.

  • Perec, G. (1997). Attempt at an inventory of the liquid and solid foodstuffs ingurgitated by me in the course of the year nineteen hundred and seventy-four (J. Sturrock, Trans.). In G. Perec, Species of spaces and other pieces (pp. 125–151). Penguin Books. (Original work published 1976)

  • Konieczka, C. (2011). Mansions of madness [Board game]. Fantasy Flight Games.

  • DeLuca, D. W. (Ed.). (2008). The old leather man: Historical accounts of a Connecticut and New York legend. Wesleyan University Press.

  • Dippold, K., Murai, H., Karaszewski, C., Shin, C., & Rhys, M. (Executive Producers). (2026). Widow’s Bay [TV series]. Chum Films; Spooky Tree Productions; Apple Studios.

  • Greenhouse Studios. (2020). Courtroom 600: A virtual reality encounter with evidence of the Holocaust [Virtual reality game]. University of Connecticut.

  • Benjamin, W. (1968). The work of art in the age of mechanical reproduction (H. Zohn, Trans.). In H. Arendt (Ed.), Illuminations (pp. 217–251). Schocken Books. (Original work published 1935)

  • Van Sant, G. (Director). (1997). Good Will Hunting [Film]. Miramax.

  • Hergenrader, T. (2019). Collaborative worldbuilding for writers and gamers. Bloomsbury Academic.

The Worldbuilding Workshop Podcast | Episode 35: Environmental and Emergent Storytelling
Stephen Slota & Trent Hergenrader
Next
Next

EPISODE 34: ROME WASN’T BUILT IN A DAY WITH KEVIN BALLESTRINI