All those frustratingly unsuccessful attempts finally pay off, now that the gamer can deliver what the game wants of him. Each challenge in the game is only slightly different from the previous, and once the player has the format of the challenges “figured out”, the game becomes easier and yet more rewarding. Tetris, Doom, Metal Gear Solid, good fighting games - and especially the simple classics of the 80s - are fun because it is possible to figure out exactly what the game wantes, deliver it, and make visible progress as a result. What is a well-designed game, then, if not a rich story? Well, it is an engaging, fun, immersive experience, requiring a way of solving problems which, once adopted by the player, makes the player “at home” in the game. well-designed videogames must tell a story. Because of this hype, one could easily be fooled into thinking that "for successful game designers, games are a narrative or story-telling medium”, i.e. There seems to be infinite immersive and emotion-inducing potential which is only hinted at by all the efforts to generate meaningful, artistic experiences. There is much hype nowadays about interactive electronic media as the future of storytelling. Why no game should aim to primarily tell a story, and why no videogame storyĬan possibly be as meaningful as the stories in film, drama and literature. Why many videogames tell stories, why many videogames don’t tell stories, The Stanford Undergraduate Research Journal, in the This bigger and better version was published by The paper has sinceīeen much improved and expanded, with points clarified and strengthened, mistakes corrected, and picturesĪdded. Technology, Culture, Business (or just STS145). In Society 145 History of Computer Game Design: The original version of this paper was written for Professor Henry Lowood's class Science and Technology Narrative vs Interactivity: Why video games are NOT a good story-telling medium
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