When people talk about video games, they often talk about the same things: gameplay, graphics, length, difficulty and online capabilities, how well will it sell, and who will buy it. But how often do we talk about the game’s story? How often do we discuss the effectiveness and purpose of its narrative?
Not all games tell stories, though. Some early games such as Tetris may be abstract, expressive, and experimental, solely focused on gameplay with no narrative to build upon. Some narratologists have tried to find the story in such games, calling Tetris “A perfect enactment of the over tasked lives of Americans in the 1990s - of the constant bombardment of tasks that demand our attention and that we must somehow fit into our overcrowded schedules and clear off our desks in order to make room for the next onslaught.” (Murray, 1997). Although it can make sense, this could not have been what the game designers were thinking when creating Tetris. They most likely took an entirely ludological approach and simply designed the game with gameplay in mind. This was acceptable in the early days of computer games, since not much was expected from the then-unexplored world of computer games.
Nowadays, to satisfy the increasing demand of players, non-indie game developers cannot afford to look past narrative even when designing the simplest of games. The old way of developing games - creating the gameplay first and then adding some sort of an over the top storyline - is disappearing and a new, narrative-centered development style is taking over. Game designers don't simply tell stories anymore; they design living worlds and sculpt expansive spaces to accommodate for character and story development. Narrative has become the main selling point in the majority of current AAA video games.
On the other hand, indie developers approach this differently. Innovation and creativity are much more valued among independent game developers in order to be noticed and pushed into...
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