Video summary

How to structure your story? Lots of examples - Prologues and Act 1

Main summary

Key takeaways

Educational

Main Ideas / Concepts

Video Purpose and Framing

  • The video explains how to structure Act 1 within a three-act structure, and how to use prologues to hook viewers.
  • It is part of a larger game-focused series on story structure.

Prologue (What It Is and How It’s Used)

Definition

  • A prologue is a scene or sequence that occurs before Act 1.

Purpose

  • It hooks the viewer early and can “start off with a bang.”
  • It often introduces the main character and establishes “what kind of person they are.”

Is It Required?

  • No—it’s optional.

Common Prologue Approaches (with examples)

  • Start with action / an extreme situation
    • The Dark Knight: begins with a bank heist before Batman is seen.
    • General example: an undercover cop starts with a car chase with a suspect.
  • Set context through a key early-life/early-state moment
    • The Last of Us: the opening shows Joel and Sarah escaping during the outbreak.
    • Why it matters: explains why Joel is gruff/cold to Ellie at the start.
  • Flash-forward to a later, intriguing moment
    • General example: the character gets a drink, then later is shown covered in blood.
    • Uncharted 2: Nathan Drake wakes up on a train, creating mystery about how he got there.

Act 1 (Structure, Beats, and Progression)

Core Goal of Act 1

  • Act 1 is described as more rigid than the other acts.
  • Its job:
    • Introduce everything needed to begin the story.
    • Get the main character onto the planned adventure.

Act 1 Methodology (Step-by-Step)

  1. Introduce the main character

    • Make the audience clear on who the main character is and what kind of person they are.
    • Often, this introduction happens very close to when the audience learns what the character wants.

  2. Establish the status quo

    • The status quo is the character’s “normal world” / day-to-day life.
    • It acts as a baseline so future disruptions show change.
    • It also provides a comparison point:
      • The character may return changed
      • Or they may form a new status quo

  3. Introduce the “routine killer” (inciting disruption)

    • The routine killer (sometimes called the inciting incident) disrupts the status quo.
    • It can be small, but it must be:
      • Unexpected (“out of the blue”)
      • Sudden (the character can’t plan around it)
      • Difficult to undo / escape (forcing the protagonist to deal with it)
    • Examples:
      • The Last of Us: Joel’s smuggling package turns out to be a live immune teenage girl.
      • Uncharted 2: Harry Flynn appears in the Bahamas unannounced.

  4. Separate (or combine) routine killer and call to adventure

    • The video recommends sometimes treating them as two distinct concepts:
      • Routine killer / inciting incident: disrupts normal life
      • Call to adventure: urges the protagonist to act and embark
    • They can be the same thing if it fits the story.

  5. Present the “call to adventure”

    • This is where the audience learns what the work will be “about,” even if the character doesn’t fully understand the whole scope yet.
    • It pushes the protagonist toward beginning the quest.

  6. Have the protagonist refuse first (optional but often helpful)

    • Many heroes should refuse the call at first.
    • Reasons:
      • The refusal shows how big and difficult the decision is.
      • It helps the audience relate to hesitation.
      • Immediate acceptance can make the protagonist feel shallow or one-dimensional.

  7. Weigh “reasons to stay” vs “reasons to heed”

    • Explore both sides:
      • “Reasons to stay” might include safety, security, or leaving loved ones behind.
      • “Reasons to heed the call” might include desire, opportunity, and meaningful unknown danger.
    • Caution:
      • Don’t let “reasons to stay” overpower “reasons to go,” or the eventual choice to go will feel wrong.

  8. Build toward the Act 1 plot twist

    • Act 1 ends with an Act 1 plot twist—a big moment of change.
    • It doesn’t necessarily mean a traditional “blindside you” reveal.
      • Instead, it means the narrative shifts in a notable way.
    • Examples (conceptual):
      • Fight Club: a recontextualizing twist about a double agent
      • The Sixth Sense: “I see dead people” framing (recontextualization)
    • Key function:
      • It knocks down / recontextualizes the obstacle preventing the protagonist from heeding the call.
      • It often makes heeding the call the only sensible option.

  9. Transition from “obstacle removed” to “adventure begins”

    • After the twist: barriers are lowered enough to begin Act 2 (“Nothing is stopping us.”)

Example / Illustration Ideas Referenced During the Act 1 Explanation

  • Hero’s journey-style moment
    • Luke invited by Obi-Wan (example involving refusal and weighing decisions).
  • Specific gaming examples used to map beats
    • The Last of Us: status quo → routine killer → call dynamics → smuggling package shock.
    • Uncharted 2: Nathan’s situation and an external intrusion that drives the adventure.
    • Horizon Zero Dawn: status quo described as living as a Nora outcast training for the proving.
  • Generic narrative example (adventure trigger)
    • A stranger shows up unexpectedly → fight → family hurt → protagonist must go find answers/cause.

Speaker / Sources Featured

Speaker

  • Michael (host; “my name is Michael”)
    • Makes videos on game design and storytelling.

Works / Sources Referenced (examples used in the explanation)

  • Three-act structure (concept; no single author cited)
  • The Dark Knight
  • The Last of Us
  • Uncharted 2
  • The Gentlemen
  • Fight Club
  • The Sixth Sense
  • Star Wars (Luke / Obi-Wan / Alderaan)
  • God of War (Kratos mentioned)
  • Horizon Zero Dawn

Original video