Narrative in Videogames

In chapter 8, Nielsen (including other authors) talks about narrative/storytelling elements of videogames. The author argues that videogames can and do tell stories similar to films unlike the stereotypic belief that videogames cannot tell a story. Nielsen starts with an example of the game, Blade Runner, to explain how some games can't be played without paying attention to the story. Games that belong to the genre of adventure games are story-oriented and narrative of storytelling is the major element in the gameplay. Furthermore, the author argues that "even the genres where stories are not part of the gameplay at all, such as strategy or simulationoneones, fictional worlds prompt players to imagine that their actions take place within a meaningful frame" (Nielsen 171).

To discuss more on narrative/storytelling elements in videogames, the author first introduces the term "narrative videogames" that refers to any games in which stroies play a significant role. Narrative has three basic components which are "the chronological order of the enets themselves (story), their verbal or visual representation (text), and the act of telling or writing (narration) (Nielsen 172). The difference between the narrative of other media (ex. film, novel) and videogames is that the text is always the same in other media, while videogames can have multiple texts depending on how player plays the game. Even though not all stories of videogames are fictional (such as Battlefield 1942 that is based on real World War II events), many games are within their own fictional worlds. However, it is important to note that narrative in videogames is refered and used to "the introduction of elements that prompt the players into imagining fictional world- which could be anything from excellent characters to detailed environments" (Nielsen 174).

Cut-scenes are very important element of videogame narrative. Here are five reasons why cut-scenes are crucial in videogames of today accoriding to the author. First, cut-scense introduce a central naarative tenstion.  Second, cut-scenes shapre the narrative in a certain direction. Third, cut-scense compensate for missing game narrative. Fourth, cut-scenes associate the game with cool modern cinema. Fifth, cut-scenes provide the player with information. Many recent videogames are graphic, story-oriented and thus, use cut-scens similar to extended movie sequences to introduce various elements of the game. Also, cut-scenes can be looked as a shortcut to explain the fictional world of the game to the player/user. Also, characters in videogames contribute significatly to the narrative of videogames. The author devide characters into stage characters, fuctional characters, cast characters, player characters, and iconic characters.

Another important term in order to understand the mechanics of game narrative is "branching". The author defines the term "branching" as the "existence of multiple paths in a narration" (Nielesen 181). This gives the player to have a freedom to narrate the story of the videogame in a way the player wants to. (even though, this expereince can be limited since it has to be pre-programmed). The author notes that the key to a successful mechanic is "to make players feel that they are contributing to creating a plot". (giving "quests" to help narrate the game is one of common ways). The author also mentions about "literary repertoire", the term that can be defined as "the familier territory within the text". This is important element in videogame narrative as well because the player's expereince of story in videogame can be greatly affected depending on whether the player is familiair or not familiar with the text of the videogame. The repertorie is activated by "clues". (ex. creepy sounds while walking up the stairs = horror game). Nielsen also argues that narrative games can be still played even with refusing to fill in the gaps of the story (skipping cut-scenses), but the player won't be able to understand or go very far in solving puzzles.

After reading this week's reading on narrative, it made me think about the death of auteurism. Unlike films or novels, the creater/desinger of the videogame is not appreciated as much as the creaters of films/novels do. I guess this is due to the freedom that the player has within the narrative of the game, which makes the player to feel like he/she is the author of the game narrative. However, looking from a different perspective, since the player decides to recreate the story witin the game, it might be right to say that the player is the author. What do you guys think? Who do you think the real author of the game is? The designer/creater or the player?