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An adventure game is a video game genre in which the player assumes the role of a protagonist in an interactive story, driven by exploration and/or puzzle-solving.[1] The genre's focus on story allows it to draw heavily from other narrative-based media, such as literature and film, encompassing a wide variety of genres. Most adventure games (text and graphic) are designed for a single player, since the emphasis on story and character makes multiplayer design difficult.[2] Colossal Cave Adventure is identified by Rick Adams[3] as the first such adventure game, first released in 1976, while other notable adventure game series include Zork, King's Quest, Monkey Island, Syberia, and Myst.

Within Asian markets, adventure games continue to be popular in the form of visual novels, which make up nearly 70% of PC games released in Japan.[4] Asian countries have also found markets for adventure games for portable and mobile gaming devices. Japanese adventure-games tend to be distinct, having a slower pace and revolving more around dialogue, whereas Western adventure-games typically emphasize more interactive worlds and complex puzzle solving, owing to them each having unique development histories.

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Essential elements of the genre include storytelling, exploration, and puzzle-solving.[5] Marek Bronstring, former head of content at Sega, has characterised adventure games as puzzles embedded in a narrative framework;[14] such games may involve narrative content that a player unlocks piece by piece over time.[15] While the puzzles that players encounter through the story can be arbitrary, those that do not pull the player out of the narrative are considered[by whom?] examples of good design.[16]

Adventure games are also distinct from role-playing video-games that involve action, team-building, and points management.[8] Adventure games lack the numeric rules or relationships seen in role-playing games (RPGs), and seldom have an internal economy.[20] These games lack any skill-system, combat, or "an opponent to be defeated through strategy and tactics".[6] However, some hybrid games do exist and are referred to as either Adventure games or Roleplaying games by the respective communities.[21] Finally, adventure games are classified separately from puzzle video games.[8][need quotation to verify] While puzzle video games revolve entirely around solving puzzles, adventure games revolve more around exploration and story, with puzzles typically scattered throughout the game.[22][need quotation to verify]

Adventure games contain a variety of puzzles, including decoding messages, finding and using items, opening locked doors, or finding and exploring new locations.[23][24] Solving a puzzle will unlock access to new areas in the game world, and reveal more of the game story.[25] Conceptual Reasoning and Lateral Thinking Puzzles form the majority of the gameplay, where extrinsic knowledge gained in real life is expected to be known and used by the player to overcome the challenges. This sets the puzzles apart from Logic puzzles where all the information needed to solve said problem is presented within the context of the situation, such as combination locks or other machinery that the player must learn to manipulate,[26] though lateral thinking and conceptual reasoning puzzles may include the use of logical thinking.[27]

Some puzzles are criticized for the obscurity of their solutions, for example, the combination of a clothes line, clamp, and deflated rubber duck used to gather a key stuck between the subway tracks in The Longest Journey, which exists outside of the game's narrative and serves only as an obstacle to the player.[28] Others have been criticized for requiring players to blindly guess, either by clicking on the right pixel, or by guessing the right verb in games that use a text interface.[29] Games that require players to navigate mazes have also become less popular, although the earliest text-adventure games usually required players to draw a map if they wanted to navigate the abstract space.[30]

Many adventure games make use of an inventory management screen as a distinct gameplay mode.[23] Players are only able to pick up some objects in the game, so the player usually knows that only objects that can be picked up are important.[13] Because it can be difficult for a player to know if they missed an important item, they will often scour every scene for items. For games that utilize a point and click device, players will sometimes engage in a systematic search known as a "pixel hunt", trying to locate the small area on the graphic representation of the location on screen that the developers defined, which may not be obvious or only consist of a few on-screen pixels. A notable example comes from the original Full Throttle by LucasArts, where one puzzle requires instructing the character to kick a wall at a small spot, which Tim Schafer, the game's lead designer, had admitted years later was a brute force measure; in the remastering of the game, Schafer and his team at Double Fine made this puzzle's solution more obvious.[31] More recent adventure games try to avoid pixel hunts by highlighting the item, or by snapping the player's cursor to the item.[32]

Many puzzles in these games involve gathering and using items from their inventory.[24] Players must apply lateral thinking techniques where they apply real-world extrinsic knowledge about objects in unexpected ways. For example, by putting a deflated inner tube on a cactus to create a slingshot, which requires a player to realize that an inner tube is stretchy.[13] They may need to carry items in their inventory for a long duration before they prove useful,[33] and thus it is normal for adventure games to test a player's memory where a challenge can only be overcome by recalling a piece of information from earlier in the game.[13] There is seldom any time pressure for these puzzles, focusing more on the player's ability to reason than on quick-thinking.[34]

Since adventure games are driven by storytelling, character development usually follows literary conventions of personal and emotional growth, rather than new powers or abilities that affect gameplay.[13] The player often embarks upon a quest,[11] or is required to unravel a mystery or situation about which little is known.[9] These types of mysterious stories allow designers to get around what Ernest W. Adams calls the "Problem of Amnesia", where the player controls the protagonist but must start the game without their knowledge and experience.[37] Story-events typically unfold as the player completes new challenges or puzzles, but in order to make such storytelling less mechanical, new elements in the story may also be triggered by player movement.[13]

Adventure games have strong storylines with significant dialog, and sometimes make effective use of recorded dialog or narration from voice actors.[13] This genre of game is known for representing dialog as a conversation tree.[38] Players are able to engage a non-player character by choosing a line of pre-written dialog from a menu, which triggers a response from the game character.[18] These conversations are often designed as a tree structure, with players deciding between each branch of dialog to pursue.[39] However, there are always a finite number of branches to pursue, and some adventure games devolve into selecting each option one-by-one.[40] Conversing with characters can reveal clues about how to solve puzzles, including hints about what that character wanted before they would cooperate with the player.[13] Other conversations will have far-reaching consequences, deciding to disclose a valuable secret that has been entrusted to the player.[13]

Text adventures convey the game's story through passages of text, revealed to the player in response to typed instructions.[47] Early text adventures, Colossal Cave Adventure or Scott Adams' games, used a simple verb-noun parser to interpret these instructions, allowing the player to interact with objects at a basic level, for example by typing "get key".[48] Later text adventures, and modern interactive fiction, use natural language processing to enable more complex player commands like "take the key from the desk". Notable examples of advanced text adventures include most games developed by Infocom, including Zork and The Hitchhiker's Guide to the Galaxy.[47] With the onset of graphic adventures, the text adventure fell to the wayside, though the medium remains popular as a means of writing interactive fiction (IF) particularly with the introduction of the Inform natural language platform for writing IF. Interactive fiction can still provide puzzle-based challenges like adventure games, but many modern IF works also explore alternative methods of narrative storytelling techniques unique to the interactive medium and may eschew complex puzzles associated with typical adventure games. Readers or players of IF may still need to determine how to interact appropriately with the narrative to progress and thus create a new type of challenge.[49][50][51]

Escape the room games are a further specialization of point-and-click adventure games; these games are typically short and confined to a small space to explore, with almost no interaction with non-player characters. Most games of this type require the player to figure out how to escape a room using the limited resources within it and through the solving of logic puzzles. Other variants include games that require the player to manipulate a complex object to achieve a certain end in the fashion of a puzzle box. These games are often delivered in Adobe Flash format and are also popular on mobile devices. The genre is notable for inspiring real-world escape room challenges.[62] Examples of the subgenre include MOTAS (Mysteries of Time and Space), The Crimson Room, and The Room.[63][64][65] ff782bc1db