I sometimes get the feeling that we are on the verge of breaking into new kinds of narrative structures, specifically created for games. For a long time, we’ve borrowed literary, theatrical or cinematic structures, copying their story experiences and ways of progression. It’s not uncommon to find a game story script that looks exactly like a movie script. But more and more games seem to pursue narrative structures that create innovative story experiences that work best in games. As you can read elsewhere on my website, I’m a proponent of innovation in story creation, which is why I want to shed my views on this phenomenon.
Is The Order 1866 really a game or a movie in disguise? Continue reading
**SPOILERS!** This article is a discussion of plot elements in games, meaning that it contains many minor **SPOILERS!**
The title of this article is a question, with good reason. It may be a question some of you ask when confronted with someone who claims to know what a game is really about. Or maybe you ask the question when discussing what the value is of adding meaning to a game, or interpreting it. In any case, the word ‘game’ can easily be replaced by ‘film’, ‘book’ or ‘painting’. Why is adding meaning to a work of art needed? Can’t we all just keep our own interpretations to ourselves?
**SPOILERS!** This article is a discussion of plot elements in games, meaning that it contains many **SPOILERS!**
The Assassin’s Creed series is known for many things: its historical accuracy, the parkour movement system and yes, even its story. Yet few players concern themselves with the narratological finesses that Ubisoft filled their story with. I’m not just talking about the fact that all characters die at the same location and date that history dictates. No, I’m talking about some narratological techniques that cause the story structure itself to become all the more interesting.