I Have No Words I Must Design
- author: @greg-costikyan
- published: 1994
- mentioned on
Highlights
It's Not a Story
Again and again, we hear about story. Interactive literature. Creating a story through roleplay. The idea that games have something to do with stories has such a hold on designers' imagination that it probably can't be expunged. It deserves at least to be challenged. Stories are inherently linear. However much characters may agonize over the decisions they make, they make them the same way every time we reread the story, and the outcome is always the same. Indeed, this is a strength; the author chose precisely those characters, those events, those decisions, and that outcome, because it made for the strongest story. If the characters did something else, the story wouldn't be as interesting.
Games are inherently non-linear. They depend on decision making. Decisions have to pose real, plausible alternatives, or they aren't real decisions. It must be entirely reasonable for a player to make a decision one way in one game, and a different way in the next. To the degree that you make a game more like a story -- more linear, fewer real options -- you make it less like a game.
Consider: you buy a book, or see a movie, because it has a great story. But how would you react if your gamemaster were to tell you, "I don't want you players to do that, because it will ruin the story"? He may well be right, but that's beside the point. Gaming is NOT about telling stories.
That said, games often, and fruitfully, borrow elements of fiction. Roleplaying games depend on characters; computer adventures and LARPs are often drive by plots. The notion of increasing narrative tension is a useful one for any game that comes to a definite conclusion. But to try to hew too closely to a storyline is to limit players' freedom of action and their ability to make meaningful decisions.
The hypertext fiction movement is interesting, here. Hypertext is inherently non- linear, so that the traditional narrative is wholly inappropriate to hypertext work. Writers of hypertext fiction are trying to explore the nature of human existence, as does the traditional story, but in a way that permits multiple viewpoints, temporal leaps, and reader construction of the experience. Something -- more than hypertext writers know -- is shared with game design here, and something with traditional narrative; but if hypertext fiction ever becomes artistically successful (nothing I've read is), it will be through the creation of a new narrative form, something that we will be hard-pressed to call "story." Stories are linear. Games are not.
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