From traditional narrative to videogame interactive storytelling

Most of them eventually realized that gaming and narrative could not be tightly separated, and that the

narration framework could not contain gameplay. While narrative representations describe the paths or

events to be followed in a linear sequence, video games based on simulation, according to Frasca,

cannot be slaves to preset paths since they follow models of behavior that reacts to certain stimuli

normally provided by the gameplay (Frasca, 2003b).

In conclusion, the pure ludological approach limits its scope of study to game mechanics and ludological

elements (such as rules, objectives, items, and gameplay), emphasizing the role of a model of behavior

based on the game's given stimuli while ignoring representational elements, even though games include

"narration" and its representation, which was considered a secondary and, in some cases, conflicting

element in this approach. Nonetheless, because the physical, psychological, and cultural features of the

narration impact the rules and simulations developed by the game designer, the model of behavior (or

rule-based model) and narrative representation are strongly linked.

From traditional narrative to videogame interactive storytelling.

Early video games typically consist of a sequence of levels with increasing complexity and include basic

mechanics of play without a narrative or characters. Later, narrative was seen as a secondary

component in video games. Some video games even lack a narrative structure, although many scholars

sustain that a lot of games have a prominence of storyline. The conflict between narrative and gameplay

derives from the fact that playing activity and enjoying the story differ from each other. The first is

interactive and open to changes, while the second is predefined. In recent decades, the classic linear

narrative seen in literature and film has been challenged by interactive storytelling in video games.

In video game design discipline, there have been a long-lasting debate between the narrativist and

ludological approaches who sought to dominate game design field. Narrativist approach supporter, Janet

Murray (1999) claim that games are based on a story and envisioned new ways of storytelling,while

ludologists supporter Jesper Juul have questioned the notion of narrative in games, suggesting that

narrative and gameplay are conflicting things and that the computer game is not a narrative medium,

although it includes narrative elements (Juul, 1998). Lindley (2005), defends this idea, arguing that

videogames per definition demand interaction and gameplay, while predefined narration make them

more rigid and weaken interactivity. Game highly characterized by narrative are less game-like and

therefore less interesting compared to interactive games. This is not always valid, as there are lots of

qualitative games that integrate narrative and gameplay.

Extreme positions, such as that of Eskelinen (2001) sustain that game shouldn’t have narrative at all. The traditional media theory is based on the classical predefined narrative structure which restrict user’s freedom, while new insights today are more open and offer more elements of interaction which are

typical for gameplay. However, many authors (Aarseth 1997, Juul1998, Eskelinen 2001) who sustain the

overcome of certain games of narration over interactivity and game rules admit that they are both part

of the games. Another interesting position is that of Henry Jenkins (2002), how sustain that there is

another dimension of narration present in video games, and it has to do with the spatial exploration. All

of them are reconciled with game play.

Considering the dual nature of videogames, Marie-Laure Ryan (2006) proposed a “functional ludo-

narrativism” model, defining video games as “a combination of the imaginative experience in a fictional

world” and “the dimension of gameplay”. So, video games, unlike traditional media which rely on textual and audio-visual description and representation methods, also use action/ interaction as techniques to

involve the player in the storytelling process. In this sense, interactivity in video games has encouraged

the evolution of narrative (FIG. 3). Rather that description and representation, game narration is based on agency (action/interaction/simulation). In the recent years, video game narrative could be seen as a

new way of storytelling that uses and combines the element of the traditional narrative structure with

ludic components and elements of simulation provided by the game.

Figure 55 Evolving types of narratives (source: authors interpretation based on https://hitboxteam.com/designing-game-

narrative)

Interactive narrative as defined by Meadows (2003) is:

“a time-based representation of character and action in which a reader can affect, choose, or

change the plot” (Meadows, 2003)

In video games, as entertaining media, the reader (the user or player in this case) is intentionally

allowed to influence the narrative as he has the freedom to act and choose to enjoy the game. Part of

the enjoyment is also the feeling that his action trigger events, and the things that happen inside the

game are the result of his actions. Nevertheless, players are not set totally free to manipulate the game.

They are posed under certain limits and restrictions, but also possibilities and choices are offered to

them in the framework of gameplay. This specific behavior of the system is enabled through simulation,

which activates a dynamic response as result of a certain behaviour of the user.

Simulation in interactive storytelling

Storytelling in video games apart from the representation as a form of traditional narration and

gameplay or the orientation of game mechanic rules also includes simulation, to offer a high degree of

interactivity, entertainment and the possibility to manipulate video game space. According to Frasca

(2003), simulation in video game does not simply replicate objects feature, but also includes their

behavior model, or the way objects reacts to certain stimuli or inputs, under certain condition. It

provides realistic and uninterrupted modalities of interaction which are the basis for immersive and

compelling experience ein the game world.

“The player does not act so much as he reacts to what the game presents to him [sic], and similarly, the

game reacts to his input” (Arsenault, Perron, 2009, pp. 119–120).

Simulation enables agency (action or reaction) which produces through interaction, changes, and

transformations in reality. Agency has an open character and includes a multiplicity of human and non-

human actions. Thus, the actor can be the player, an abstract entity, a person, or an object part of the

game. Everything inside the game can be mobile and transformable. Interactive Narrative allows the

user to make decisions that directly impact the narrative experience.

In video games, agency is enabled and delimited at the same time by the system, the technology, the

developers, or other players. It is the result of a highly complex mathematical process that puts together

the object representation (narrative) and its purpose or the role that it assumes in game(gameplay). This

process or function is defined as simulation. Simulations provide an compelling experience for

players because of a realistic mode of interaction. The realism of simulation is also advantageous in the

visualization and design process of architecture and urban design, since it provides a realistic experience

in several dimensions.

Lindley (2005) offers a classification plane of ludic systems based on three components:

1. Narrative. In narrative based game, players experience is highly defined. Adventure sport games,

for example, are mainly narrative games, being non-competitive. They have limited rules,

primary defining the limits of the game.

2. Gameplay (ludic). Pure games have a week narrative structure and are based mainly on rules.

Game genres such as matches(ex.football, chess), and competitions have a defined structure

based on interconnected rules. In case lack any kind of fiction.

3. Simulation. In simulation games, narrative and gameplay are set together in a dynamic process.

Narrative integrates to game play offering simulation.

Figure 56 A classification plane of ludic systems (Lindley 2005)

Nowadays, video games largely rely on simulation, especially in terms of the representation of game

space, objects inside it, and their behavior or interaction with the player or other game components. A

rich ludic component in video games is the synonym of a simulation that has the capacity to include

player’s will. In this sense according to the classification plane of ludic systems (Lindley 2005), there are

various levels of simulation depending on the game category:

1. Action and adventure games rely less on simulation. In this type of games simulation is limited to

objects physics, weapon effects, characters movements, etc. However, the player is constraint to experience a defined /almost defined narrative path because of the game story.

2. Role playing games assign to the participant a role and let him free to explore in a spontaneous

way the environment. …. 3. Strategy games, which initially were used for military training, are based on combat simulation.

4. In gaming-simulations (ex. The Sim, SimCity), the role assigned to the player is not definitively

assigned but is the result of an interacting systems. Thus, in this case, simulation model

constitutes the terrain for dynamic interaction, and includes various rules and manuals, such as

constraints, limits, rewards, etc. (Greenblat 1988).

Video games from player perspective

There are a lot of theories regarding player’sbehaviour within the game spaces. French sociologist,Roger Caillois(1961)defined a series of human needs which could be fulfilled by playing: agon (competition),

alea (chance), ilinx (vertigo), and mimesis (mimicry). However, different players prefer different kind of

experience from a game. While they play, they often have certain freedom to choose which goal to achieve and the game style to play, which personalizes game experience. Richard Bartle7 has categorized

play styles based on four player’s personality types:

Figure 57 Bartle's (1996) categories of play types

 Socializers use the virtual world to interact with other game players.

 Killers are driven by the desire to hurt other players, inflicting pain in the virtual environment.

 Achievers. Achievers are driven by goals to accomplish such as gathering points, complete levels,

or earn money and rewards). They are always in a competitive position and want their

achievements to be measured and shown in the game.