GAME DESIGN AS NARRATIVE ARCHITECTURE

In his article "Game Design as Narrative Architecture," Henry Jenkins takes a balanced approach to examine the rift between those who favor a focus on game-play mechanics (Ludologists) and those who prefer to study games as narratives (Narratologists). He feels that the conceptual idea of game narrative is too narrow as the Ludologists see it, and the Narratologists might be too focused on the imprinting of other narrative forms into the the discussion of gaming. Jenkins introduces the term "spatiality" and argues for "and understanding of game designers less as storytellers and more as narrative architects." The environment of the modern video game is it's primary context. Game designers are not just telling stories. They are creating worlds in which stories can happen. Jenkins goes on to discuss four ways games can achieve this. Evocative spaces "can evoke pre-existing narrative associations." Enacting stories "can provide a staging ground where narrative events are enacted." Embedded narratives "may embed narrative information within their mise-en-scene." Emergent narratives "provide resources for" narratives created by the player.

I tend to favor Jenkins thoughts on narrative in video games. To exclude narrative from gaming strictly to focus on mechanics seems to be an outmoded way of thinking. A well-crafted narrative, no matter what form it takes in the game, plays an important role in the success of the experience. My preference leans toward RPGs, and most single player games without some kind of narrative thread get boring quickly. Not that I need to be spoon-fed a narrative at all times. That approach can be be annoying. I think it's the balance of story with immersive play that is most satisfying. I played through Cyberpunk 2077 multiple times, and although sometimes the narrative leash gets a little too tight, the abundance of free-roaming experience and the wide variety of character and play-style choices make the action superb. It's probably the most fun I've had playing a game since Final Fantasy VII. I'm a casual player, so I want things challenging enough to be fun, but not make me rage quit. I also enjoyed Myst with its embedded narrative. I've also played way too many hours of Sims, enjoying the often hysterical outcomes of its emergent narratives.

Some of the work I do revolves around creating a game-like experience for online learning. This sometimes involves creating situational narratives to (hopefully) help learners better absorb the educational content in the learning module. I think they usually fit into the concept of the embedded narrative, although sometimes they may more closely resemble evocative spaces. I think Jenkins has provided me with a new vocabulary with which to consider how I might design some of these "gamified" learning events.

Introduction to Game Time / Time to Play
-An examination of game temporality

In this article (titled above) by Jesper Juul, the author advocates for a more thorough examination of time as it relates to game play and the gaming experience in order to serve as an "analytical tool for opening other discussions in game studies and game design." His goal seems to be to define several terms concerning temporality and explain them conceptually in order to support critical analysis and dialogue. 

I have certainly spent many hours of play time in role playing games that are not mapped onto the event time within the game. This happens most often when crafting or upgrading costume pieces and other materials in the game. I have to agree with him that save-games are not inherently flawed. In fact, there are some I would not play at all if they didn't offer that feature, or at least offer frequent enough points of auto-save to avoid major frustration. Using Cyberpunk 2077 again as an example, the ability to manually save in combination with returning you close to your nearest spawn point (spatially and temporally) if you fail a mission or part of a mission keeps you from having to repeat the entire thing. However, some of the cut-scenes a far too long, and make you wait an almost unpleasant amount of time before returning to the interactivity of the game. If there is any lesson that I could take from this article into the practice of my own work, is that it is best to seek to balance the experience of what the player spends time doing in the game so that it serves to enhance the experience and leads towards a successful engagement.

Towards a Game Theory of Game

In the essay "Towards a Game Theory of Game," author Celia Pearce argues for a move away from discourse on narrative in games that relies on the context of other media, such as film and literature. She emphasizes that play is the central focus of games, whereas story (or narrative) is the central focus of film and literature. Narrative, as it is used in games, works to enhance gameplay, and is often less linear and restrictive than it is in those other formats. She supports this idea with examples from role-playing games (EverQuest) and simulation games (The Sims). The assertion is that the player participates in the authorship of the experience. and this dynamic creates a unique context for discussing theory.

As I have discussed previously, the types of games Pearce examines in her essay are my favorite to play. I think she hits the nail on the head with her explanation of the interactive authorship of narrative, and it explains the reason I enjoy the RPG genre more than other genres of gaming (at least in the context of solo play). I can definitely see applying these concepts in the creation of interactive experiences. Allowing the person experiencing a game, interactive art installation, or virtual environment to participate in the authorship of the narrative has valuable potential for creating connection to the experience. That is something I can apply to many facets of my work.