Embedded and emergent game design

Other games e. While some games strongly encourage emergent narratives, most if not all games may form part of an emergent narrative given a sufficiently creative player. Emergent narratives occupy the same conceptual level as dynamics as both arise from player-game interaction. When a person reads a book, the narrative they absorb may differ from the narrative that is intended by the author. Sometimes people simply misread words e. Similarly, players may form different interpretations of embedded and emergent narratives.

Interpreted narrative occupie the same conceptual level as aesthetics, in that both are primarily in the mind of the player. Armed with our more nuanced conceptualization of game narratives above , we can now proceed to combine MDA and the Elemental Tetrad Figure 3. While others e. Its core concepts are defined in Table 2. Notes: Arrows indicate interactions; rectangles indicate concepts; dashed lines indicate optionality.

Informally, players interact with game mechanics and possibly experience embedded narratives through technologies. Dynamics and possibly emergent narratives arise from player-game interactions. Here we use dynamics in a slightly broader sense than Hunicke et al. For example, fast moving sprites contribute to twitch gameplay which tests reaction time , while turn-based mechanics create more strategic gameplay which tests strategic thinking.

We also use mechanics in a broader sense than either Hunicke et al. For example, if a game uses dark environments not only to create a spooky aesthetic but also to make it more difficult to hit sprites or detect traps, darkness becomes a mechanic.

This choice is based on the observation that when game designers say that artwork reinforces aesthetics, they do not simply mean that artwork reinforces how the game looks i. Similarly, lacking dynamics, the Elemental Tetrad is not suited to analyze how certain behaviors e.

Notify me of new posts via email. Stay updated via RSS. Share this: Twitter Facebook. Like this: Like Loading February 21, at am. Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. Name required. Narrative and Space in LaLaLand. Following an audition at a prestigious theater academy, the otherwise competitive crew decided to throw a spontaneous party at the flat of one of their members.

As they begin to compare notes and piece together the events of the night before, conflicts emerge, indiscretions are revealed, and they struggle to find an explanation for the mysterious disappearance of their host.

Which of the following does the above scenario describe circle one? If you answered 5, you were correct. The epigraph that begins the chapter describes the opening moments of a game, specifically a genre of game known as a live action role-playing game or larp titled Prayers on a Porcelain Altar, or more colloquially, The Hangover Larp.

To sum up, our four forms of narrative architecture, now applied to immersive art and entertainment, now become:. That said, is one necessarily better than another?

Is there a specific type of narrative architecture that is most relevant to the immersive designer? I should note that these four architectures are not mutually exclusive nor are they necessarily in conflict with one another; experience designers may mix and match them as they wish and should mix and match them as they wish.

Let us experience these four architecture types in all their possible permutations. Perhaps immersive designers play too much in the sandboxes of the evocative space and embedded narrative without asking how else we can bring stories to life. Perhaps we can make more real-life spaces filled with embedded artifacts that can whisk us to another universe. Or create more evocative spaces that can spark emergent narrative through roleplaying with player collaborations happening in public.

Or design virtual reality experiences that allow participants to move from storytelling to story-living and story-doing. Conceive of these types of narrative architectures as tracks on the immersive mixing board, if you will, to your immersive symphony. This board is as wide as possible — one that extends far into the distance; and, I now implore you, to go forth and make beautiful music.

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Notify me of new posts via email. APgameset Winter Share this: Twitter Facebook. Like this: Like Loading By apgameset , on March 18, at pm , under Uncategorized. Post a comment or leave a trackback: Trackback URL. Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:.