CMPP08N Digital Media Dissertation Proposal
William Marsh 09027067
1. Student ID:
09027067
2. Provisional Dissertation Title
An investigation into narrative techniques adopted within video games and specifically non-linear storylines.
3. Topic/ area of research
The specific areas that I wish to research are the evolution of storytelling and player immersion within games,
how certain games strive to break the mould of linear story lines within games, ultimately with the intention of
providing the gamer with engaging, complex and thought provoking plots providing a unique experience upon
each play through of the game.
I will consider how different platforms are better suited to different types of game’s design narrative, and how
different game development companies target their specific audiences with their own types of narrative style
and push the boundaries of narrative dogma.
I also wish to examine how games use narrative technique to drive a goal bases linear story and what other
possible options are available to game designers. Game designers also target specific audiences and age
groups with different narrative techniques and styles. As well as this I will investigate how viral communities,
youth culture dictate and influence how game companies create a story for a game.
Along with these different topics of research I would like to explore how game developers can use the gamer
to create a narrative using moral challenges and conversational story paths to allow the player different
experience upon each play of the game. And how different companies value narrative over other facets of
games and why. As well as how the player’s perception and choice of genre if possible is used by game
developers to build up narratives.
I also intend to examine how new technologies will enhance and change narrative technique and how games
can and will deal with seemingly abstract and randomised gamer input.
From a more business angled point of view I wish to survey how best design practices have been created and
how narrative method has affected sales of games in different countries and markets.
What the limitations for narrative technique within games can be seen in comparison to other mediums such
as film and performance art.
4. Aims of Dissertation
The main aims of this dissertation are to:
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Explore and investigate the implications of storylines on gameplay.
Evaluate game story, choice, morality immersive environments.
Explore the potential future storytelling within games.
The aim of this research is to analytically asses the narrative content of a selection of games from a qualitative
approach in order to predict possible future developments with game stories.
I will carry this out by using a system of criteria to measure the patterns with narrative technique and what it
takes to create a success in the eyes of the developer and the gamer. As innovation is often linked with success
within the medium of video games I will be looking at how successful games are naratively innovative.
To assist my efforts I will analyse each game from a narrative perspective, plotting linearity (in terms of paths
of narrative) against interactivity (in terms of limitations of a player’s influence upon the story).
5. Literature Review
The literature I have reviewed approaches the topic of narrative in many different ways. Wolf approaches the
topic of narrative as a form of interactive media able to turn a “viewer into a participant or player” (Wolf,
2001) compared with the passive types of interaction adopted by film. Explaining that in video games the
player is given an interactive role to play.
Emotional response to games are explained to be narrow but not nonexistent and still have the power to
generate pathos, continuing to develop it’s emotional range and conventions and styles. Wolf takes a
chronological approach tracing the factors that have shaped narratives and how diegetic world of games has
developed with the characters. Tracking game’s focus from descriptive to depictive.
Here Wolf explores the interaction between player, game and narrative from an influential perspective which
will be useful resource when exploring cultural and business relationships with narrative but also social aspects
and character creation.
Later discussed in Wolf’s The Video Game Theory Reader are the theories surrounding narrative immersion and
the player’s presence within a game by McMahan (McMahan, 2003). McMahan directly analyses games in
terms of immersive quality studying situational limits, interactivity limits and the limits of choice. This is done
by also chronologically charting the evolution of game design and best practice methods and their effect upon
a player’s presence within a game.
As Linearity and interactivity are intrinsically linked with immersive possibilities McMahan’s essay will assist
me to evaluate the narrative design choices made by game developing companies, while tracking the trends of
these choices across different companies chronologically.
Filigak in the same book examines the character, when able to be chosen by the player, as a projection of the
player in certain fabricated situations (Filigak, 2003). Here role playing games are also discussed to grant
players the virtual experiences and are given a range far broader than physically possible. From this I will be
able to deduce what kind of narrative styles are developed by specific companies and how players are allowed
to interact with the narrative chosen. Also discussed is realism and morality which can directly affect the
narrative where possible, giving me insight into how different games utilise player moral input when
generating realistic scenarios.
Grodal approaches the area or narrative in a different way, exploring how narratives are “interactive virtual
reality...simulations of basic modes of real life experiences” (Grodal, 2003) identifying how narrative realism is
linked with the emotional and physical responses of the player. Grodal investigates the psychological
connections between “perception, emotion and action in narrative structures” (Grodal, 2003, pp132) and in
context to my discussion will be invaluable as a resource due to the theoretical nature of Grodal’s argument.
This will assist me to identify what makes game narrative unique, compared with film narrative, and how
specific genres such as first-person shooters engage the player emotively within a narrative.
In the same vein of though Salen and Zimmerman explore how narrative is used as an emergent experience,
developing throughout play to create a framework for goal based game design while identifying how landmark
games such as Half Life and Missile Command try to create new and atypical experiences within the chosen
narrative (Salen, K et al. 2004). This investigation will help me to identify where specific narrative techniques
have arisen from, how they have been shaped through game design history, and the reasoning behind their
conception. This will help me to understand how the rules of narrative have altered over the years and clearly
pin point patterns within narrative technique.
Dovey and Kennedy tackle the concept of narrative from a different angle again. Within their book Game
Cultures: Computer Games as New Media (Dovey et al. 2006, pp93) they try to identify what makes a game
successful and how narrative plays a part in their success. Specifically looking at examples of narrative
extremes and online line games they investigate how linear sequences and pathways are used in games to
develop the narrative. They examine how conventional narrative theory will evolve to focus on “spatial
element” of narrative experience rather than traditional linear storytelling. This brief insight into linear
narrative structure will serve as a constructive first step as I attempt to identify how linear narrative is tackled
and how unique player experience and narrative timelessness can be achieved.
In the same book the history of co-creation of games involving the user community and the developer is
outlined. This chapter gives insight as to how, in the past, some games have been directly influenced, or
directly created by players rather than production companies. Using this as a basis for what has already been
achieved I will try to identify how new technologies are aiding this collaboration and to what extent can a
player influence narrative.
On the site Gamasutra Ara Shirinian’s article The Uneasy Merging of Narrative and Gameplay follows the
relationship between a player’s interaction with a game and visual narrative. Here the emotive power of
games is discussed, detailing the differing methods of narrative progression and the “holy grail” of a narrative
film you can play as a game. This discussion will aid me to see how the boundaries between film and game
narrative have been thinned, and theorize as to what the future might hold.
In Dynamics of Narrative (Bridgett, 2009) Bridgett explored how sound is used within games to enhance the
narrative and game intensity, by using similar dynamics apparent in horror films. This insight into sound design
demonstrates how sound dynamics enhance the narrative within games, evoking emotional reactions from the
player. From this I can investigate how sound effects, music and dialogue are all used to develop a narrative.
6. Methodology
I have chosen the games I will analyse because I believe that they cover a wide range of genres and consoles,
coming from different cultures, both linear and non-linear, all using different and interesting styles of
gameplay. However they all maintain a strong focus on narrative. These games are as follows:
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Fahrenheit (PC)
Mass Effect (Xbox)
Half-Life (PC)
Zelda (Wii)
Fable (Xbox)
Heavy Rain (PS3)
The criteria have been chosen to evaluate how the games that I have chosen approach narrative. The research
will be carried out in a qualitative method in terms of content and conceptual analysis and are as follows.
Unique Gaming Experience
The game’s choice of linear or non-linear narrative technique.
Platform and Target Audience
The developer’s choice of platform which the game was released on, the specific audience the game is aimed
at, and how the affects the narrative.
Player Influences
How the player or a community can influence the narrative of a game.
Immersion
How the game’s narrative creates an immersive environment for the player.
Morality
To what extent the game narrative utilises the player’s morality and ethics.
Narrative Value
To what level the game values the narrative in comparison with other key elements within the game’s makeup.
Technological Usage
To what degree the game uses new technology to enhance the narrative experience.
Popularity
Is the game mainstream and regarded as a narrative success in terms of sales across the world.
Narrative limitations
If the game has any limitations when concerning narrative, and why.
7. Research Project Plan
Below I have set out a plan for the lifecycle of this dissertation.
June – October 2010:
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Analyse the selected reading of the chosen topic detailed in the literature review, as well as any other
additional material that may be useful for the research.
First playthrough: Play through the selected games while keeping a focus on narrative technique.
November – December 2010:
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Receive the feedback to this proposal, identifying areas that could be improved to ensure the
research is unbiased and balanced.
Define the aims and objectives of the dissertation.
January 2010
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Write the literature review chapter based on the confirmed selection of literature written on the topic
of research.
Write the methodology chapter based upon feedback and research gathered about the topic.
February 2010
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Second play through: Play the games a second time to conduct field research and collect data.
Analyse data against established criteria.
March 2010
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Write the data analysis chapter
April 2010
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Write the concluding chapter
Write the introductory chapter
May 2010
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Proof-read the dissertation and account for any possible delays.
May 21st 2010
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Submission of dissertation
Bibliography:
Bridgett, R (Gamasutra) (2009) Dynamics of Narrative [Online] Available from:
http://www.gamasutra.com/view/feature/4143/dynamics_of_narrative.php?page=1
Dovey, J and Kennedy, H (2006) Game Cultures: Computer Games as New Media. New York: Open University
Press
Filigak, M et al. (2003) Chapter 4. Hyperidentities. In: Wolf, M (ed.), (2003) The Video Game Theory Reader.
New York: Routledge.
McMahan, A et al. (2003) Chapter 3. Immersion, Engagement, and Presence: a Method. In: Wolf, M (ed.),
(2003) The Video Game Theory Reader. New York: Routledge.
Rehak, B et al. (2003) Chapter 5. Playing at Being. In: Wolf, M (ed.), (2003) The Video Game Theory Reader.
New York: Routledge.
Salen, K and Zimmerman, E. (2005) Rules of Play: Game Design Fundamentals. Massachusetts: MIT
Shirinian, A (Gamasutra) (2010) The Uneasy Merging of Narrative and Gameplay [Online] Available
from:http://www.gamasutra.com/view/feature/4253/the_uneasy_merging_of_narrative_.php (05/06/2010)
Wolf, M et al. (2001) Section 2, part 5, Narrative in Video Game. In: Wolf, M (ed.), (2001) The Medium of the
Video Game, Austin, University of Texas, pp 93-111.