Games and Narrative: Theory and Practice

Foreword
Video Game Narrative: A Vibrant Topic for Research and Practice
References
Contents
Part I Narrative Design and Theory
1 Six Degrees of Videogame Narrative
1.1 Introduction
1.2 Background
1.3 Methodology
1.4 Results
1.4.1 First Degree: Narrative as an Internalization Tool
1.4.2 Second Degree: Swapping Gameplay and Narration
1.4.3 Third Degree: Narration Blurring into Gameplay
1.4.4 Fourth Degree: Universe at Pause
1.4.5 Fifth Degree: Non-sequential Autonomy
1.4.6 Sixth Degree: Experimental Temporality and Autonomy
1.5 Discussion
A.1 Ludography
References
2 Systemic NPC-Side Branching in Linear AAA Video GameStories
2.1 Introduction
2.2 Case Studies
2.2.1 Case Study #1: Disco Elysium
2.2.1.1 Lieutenant Kitsuragi and Ludic Recognition
2.2.1.2 Illusory Listening
2.2.1.3 Complementarity and Modularity
2.2.1.4 Conclusions
2.2.2 Case Study #2: Hades
2.2.2.1 Granularity and Generality
2.2.2.2 Watching, but Not Stalking; a Guide to Recognizing Player Behaviour
2.2.2.3 Interplay of Gods
2.2.2.4 Conclusions
2.2.3 Case Study #3: The Signifier
2.2.3.1 This Marriage Between Complexity and Time
2.2.3.2 Why Would I Mind to Be Two Again?
2.2.3.3 Conclusions
2.3 Best Practices for NPC-Side Branching
2.3.1 Additive Dialogue
2.3.2 Alternate Dialogue
2.3.3 Building on Expectations
2.3.4 Anonymizing Player Data
2.4 Conclusions
References
3 Breaking the Fourth Wall in Video Games: A New Terminology and Methodology
3.1 Introduction
3.2 Literature Review
3.3 Towards a Conclusive Terminology and Framework
3.4 Magic Circle Manipulation as an Umbrella Term
3.4.1 Magic Circle Deformation
3.4.1.1 Non-diegetic Play
3.4.1.2 Medium Play
3.4.1.3 Real-World Play
3.4.2 Magic Circle Perforation
3.4.2.1 Direct Address
3.4.2.2 Self-Awareness
3.4.2.3 Awareness of the Real-World
3.5 Magic Circle Manipulation: Player Experience
3.5.1 Implementation of Magic Circle Manipulation
3.6 Conclusion and Future Research
References
4 Gamifying Kindness: Toward a Praxis of the Ephemeral
4.1 Introduction
4.2 The Nature of Kindness
4.3 Kindness and Caring in Game Worlds
4.3.1 Case Study #1: A Short Hike (2019)
4.3.2 Case Study #2: Far from Noise (2017)
4.3.3 Case Study #3: Depanneur Nocturne (2020)
4.3.4 Conclusions
4.4 Ludic Kindness: Death Stranding and Building Bridges
4.4.1 Forging a Path
4.4.2 Likers Get Likes
4.4.3 Special Delivery
4.4.4 Conclusions
4.5 Discussion
References
5 The Digital Lineage of Narrative: Analyzing Interactive Fiction to Further Understand Game Narrative
5.1 Introduction
5.2 Interactive Fiction
5.3 Analysing Interactive Fiction
5.3.1 The Work of Roland Barthes
5.3.2 Fabula and Syuzhet
5.3.3 Narrative Game Mechanics
5.4 Choice in Narrative within Interactive Fiction
5.4.1 Photopia
5.4.2 The Uncle Who Works for Nintendo
5.4.3 Stories Untold
5.5 The Future of Interactive Fiction
References
6 The Case for Naive and Low-Fidelity Narrative Generation
6.1 Introduction
6.2 Naive Narrative Generation
6.3 Fidelity
6.3.1 Generative Fidelity
6.3.2 Summarizing Fidelity
6.4 Limits of Narrative Generation
6.5 The Role of Naive and Low-Fidelty Generation
6.6 Conclusion
References
Part II Social and Cultural Studies
7 Azeroth Has a Workplace Gender Inequality Problem: Gendered Professions Bias in Virtual Worlds
7.1 Introduction
7.2 Background
7.2.1 Gendered Professions Bias
7.2.2 Gender, Race, and Videogames
7.3 Methodology
7.4 Results
7.5 Discussion
A.1 Ludography
References
8 Narrative Design in Turkish Video Games: History andComparison
8.1 Video Games in Turkey and Narratology
8.2 Purpose
8.3 Research Method
8.3.1 Comparative Analysis Method
8.4 Comparative Analysis of the Examined Games
8.4.1 Game Genre
8.4.2 Theme
8.4.3 Character Creation and Existing Characters
8.4.4 Game Mechanics
8.4.5 The Language Used in the Game
8.4.6 The Universe of the Game
8.4.7 Camera Mode
8.4.8 Interaction
8.4.9 Utilization of Technological Infrastructure
8.4.10 Analysis of Gaming Industry in Turkey
8.5 Conclusion
References
9 The Games on Exhibition: Videogames as Contemporary Art
9.1 Introduction: Is Video Game Art?
9.2 Videogame as Art: Past and Present
9.3 Conclusion: The Future
References
10 Ethics of Interactive Storytelling
10.1 Introduction
10.1.1 Elements of Interactive Stories
10.1.2 Moral Philosophy
10.2 Platform
10.3 Designer
10.4 Interactor
10.5 Storyworld
10.6 Conclusion
References
11 The World Building in the Superhero Genre Through Movies and Video Games: The Interplay Between Marvel's Avengers and Marvel Cinematic Universe
11.1 Introduction
11.1.1 Marvel Comics-Based Superheroes in Video Games and Movies during the 2010s
11.1.2 Adapting Superheroes from Comics to Various Media in a Nutshell
11.2 Methodology
11.2.1 The Research Interest and the Question
11.2.2 Qualitative Approach and Data Collecting Method
11.3 Discovering Similarities and Differences Between Avengers Video Game and Movies
11.3.1 Marvel's Avengers Video Game
11.3.2 Exploring Interaction, Resemblance, Experience, and Commerciality in the Marvel's Expanded Narrative Environment
11.4 Conclusion
References
Part III New Technologies and Approaches
12 Academical: A Choice-Based Interactive Storytelling Game for Enhancing Moral Reasoning, Knowledge, and Attitudes in Responsible Conduct of Research
12.1 Introduction
12.2 Background
12.2.1 Interactive Storytelling and Learning
12.2.2 Responsible Conduct of Research Training
12.2.3 RCR Learning Outcomes
12.3 Academical: A Choice-Based Interactive Storytelling Game
12.4 Experiment 1: Randomized Group Comparison Study
12.4.1 Methods
12.4.1.1 Procedure
12.4.1.2 Measures
12.4.2 Results
12.4.2.1 Participant Demographics, Prior Knowledge and Experience
12.4.2.2 Engagement with RCR Training Tools
12.4.2.3 RCR Learning Outcomes
12.5 Experiment 2: Correlational Study
12.5.1 Methods
12.5.1.1 Procedure
12.5.1.2 Assessment Tools
12.5.2 Results
12.5.2.1 RCR Attitudes
12.5.2.2 Engagement Correlations with RCR Attitudes
12.6 Overall Discussion
12.6.1 Using Interactive Narrative to Teach RCR Learning Outcomes
12.6.2 The Importance of Engagement within Interactive Narrative
12.6.3 The Benefits of Online Single-Player Interactive Role-Play
12.7 Conclusion
References
13 The Marriage of Quantum Computing and InteractiveStorytelling
13.1 Introduction
13.2 Building a Narrative-Driven Game
13.3 Case Study: C.L.A.Y.: The Last Redemption
13.3.1 Story
13.3.2 Gameplay Loop
13.3.3 Characters
13.3.4 Locations
13.4 Fitting in the Quantum Computing
13.5 Conclusion
References
14 A Shared Vocabulary for Interactive Digital Narrative (IDN): An Encyclopedia Project
14.1 Introduction
14.2 Foundational Considerations for a Shared Vocabulary
14.2.1 An Overarching Analytical Perspective: The SPP Model
14.2.2 A Starting Point for the Field
14.3 A Taxonomy for IDN: Extending the SPP Model
14.4 A (Living) Encyclopedia for IDN
14.4.1 The Living Handbook of Narratology
14.4.2 The Stanford Encyclopedia of Philosophy
14.4.3 Editorial Procedures
14.4.4 Content Structures of the IDN Encyclopedia
14.4.5 Two Example Entries
14.5 Conclusion and Future Work
A.1 Appendix 1: Top Level Entry—Ideation
A.1.1 Ideation
A.1.2 Definition
A.1.3 Explication
A.1.4 Custom Sections for Specific Concept
A.1.4.1 Ideation Tools
B.1 Appendix 2: Low Level Entry: Transformation
B.1.1 Transformation
B.1.2 Alternative Names of Concept
B.1.3 Definition
B.1.4 Explication
B.1.5 History
B.1.6 Custom Sections
B.1.7 Sequence Questions
B.1.8 Disorienting Dilemma
B.1.9 Example: Interactive Installation “Angstfabriek”
B.1.10 Evaluation Tools
B.1.11 Connected Theories
B.1.12 Bibliography
References
15 Narrative as a Game User Experience Dimension: An Experimental Study
15.1 Game User Experience and Narrative
15.2 Harmonizing Game Narrative with Gameplay
15.3 Methodology
15.4 Games and User Experience Dimensions
15.5 Narrative and User Experience Dimensions
15.6 Discussion
References
Part IV Practices and Case Studies
16 An Analysis of the Use of Religious Elements in Assassin's Creed Origins
16.1 Introduction
16.2 Background
16.2.1 Religion and Videogames
16.2.2 Assassin's Creed Franchise
16.3 Methodology
16.4 Results and Discussion
16.4.1 Game Narrative
16.4.1.1 Story
16.4.1.2 Visuals
16.4.1.3 Audio
16.4.2 Game Context
16.4.2.1 Environment
16.4.2.2 Architecture
16.4.2.3 Lighting
16.4.3 Game Characters
16.4.3.1 Player Character(s)
16.4.3.2 Non-Player Character(s)
16.4.3.3 God(s)
16.4.4 Discussion
A.1 Ludography
References
17 Longform Video Essays as Critical Retellings of Video Game Narratives
17.1 Introduction
17.2 Retellings as Narrative Products
17.3 Studying Videogame Narratives through Retellings
17.4 Longform Video Essays as Critical Retellings
17.5 Conclusion
References
18 Heritage, Authenticity, and the Fiction/Nonfiction Dualism in Attentat 1942
18.1 Introduction
18.2 Mixed Model of Authenticity/Immersion (Mochocki 2021a, b)
18.2.1 Constructive Authenticity, Material Dimension
18.2.2 Constructive Authenticity, Human Dimension
18.2.3 Existential-Interpersonal Authenticity
18.2.4 Existential-Self-Making Authenticity
18.2.5 Existential-Bodily Feelings
18.2.6 Pseudo-Objective Authenticity: New Category
18.3 Fiction/Nonfiction Dualism in Attentat 1942
18.4 Conclusion: A Virtual Museum
References
19 Using Heuristics for Evaluating Game Narrative: A Close Reading of Death Stranding
19.1 Introduction
19.2 Methodology
19.3 Close Reading of Death Stranding
19.3.1 Choice (Cosmetic, Social, and Gameplay)
19.3.1.1 Cosmetic Choices
19.3.1.2 Social Choices
19.3.1.3 Gameplay Choices
19.3.2 Variety (Quests, Characters, and Theme)
19.3.2.1 Quest Variety
19.3.2.2 Character Variety
19.3.2.3 Theme Variety
19.3.3 Consequences (Casual, Social, and Gameplay)
19.3.3.1 Casual Consequences
19.3.3.2 Social Consequences
19.3.3.3 Gameplay Consequences
19.3.4 Predictability (Quests, Characters, and Gameplay)
19.3.4.1 Predictability of Quests
19.3.4.2 Predictability of Characters
19.3.4.3 Predictability of Gameplay
19.3.5 Uncertainty (Game, Player, and Outcome)
19.3.5.1 Game Uncertainty
19.3.5.2 Player Uncertainty
19.3.5.3 Outcome Uncertainty
19.3.6 Satisfaction (Coherence, Expansion, and Closure)
19.3.6.1 Coherence
19.3.6.2 Expansion
19.3.6.3 Closure
19.4 Conclusion
References
20 Allegation and World-Building in Video Games
20.1 Allegation
20.2 Narrative Themes in Child of Light and My Memory of Us
20.3 Allegation in the Two Games
20.4 Conclusion
References
Part V Tales from the Industry
21 Changing Scope, Keeping Focus: Lessons Learned During the Development of Frostpunk Narrative
21.1 Introduction
21.2 This War of Mine (2014)
21.3 Frostpunk (2018)
21.3.1 Creating the Narrative
21.3.2 The Star of the Cast
21.3.3 Means to an End
22 Wordless Storytelling in a Surreal World
22.1 Origin of Creaks and Decision for Wordless Storytelling
22.2 Making a Story to Blend with Game Mechanics
22.3 Creating a Detailed Storyboard
22.4 Development of Visuals Based on Storytelling Means
22.5 World of Creaks and Environmental Storytelling
22.6 Audio in Wordless Storytelling
22.7 Conclusion