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