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Investigating the ludological effects wrought from
branching narratives and decision based changes in
storytelling.
By Christopher Walden
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Investigating the ludological effects wrought from
branching narratives and decision based changes in
storytelling.
Written by Christopher Walden
Supervised by Steve Webley
BEng (Hons) Computer Games Design
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Research Goals
During the duration of the project, the following goals will be met:
Investigate the pros and cons of branching narratives in video games
Discover their purpose; Discover what they are good for; Discover what they are bad for; Discover why they are still used.
Collect examples of branching narratives and identify the good from the bad, noting
potential techniques in execution that can be borrowed or elaborated upon in further
games
Identify a medium that utilises split narrative; Identify how the decisions are made; Discover why it works well/badly and can it be improved; Find further examples in current games that show this.
Collect examples of multiple endings and identify the good from the bad, noting potential
techniques in execution that can be borrowed or elaborated upon in further games
Identify a medium that utilises multiple endings; Discover why it works well/badly and can it be improved; Find further examples in current games that show this.
Create a design document for a game that uses both a branching narrative and multiple
endings, using the previous findings to prevent alienating the player and/or affecting
gameplay
Create a realistic idea for a current generation game that uses both a branchingnarrative and multiple endings in its story;
Create and implement mechanics and gameplay that is either unaffected orcompliments the narrative structure;
Test the document with a questionnaire to see if members of the public agree withthe way these narrative techniques are utilised.
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Abstract
It appears that most games are actively making an effort to tackle the many simple and
complex issues that come with decision making and branching narratives, mainly to improve
the gameplay of the game itself. However, as later proven, even recent games still suffer a
few minor setbacks when it comes to the execution of branching and decision systems.
Some of the worst examples are by all means singular, but by comprising a list of rules to
follow, this can be nipped in the bud before its a bigger issue.
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Contents
INTRODUCTION 7
1. AN INTRODUCTION TO BRANCHING NARRATIVES 8
1.1. WHAT IS A BRANCHING NARRATIVE? 9
1.2. BRANCHING NARRATIVES IN CINEMA 11
1.2.1. Sliding Doors (1998)
1.2.2. Run Lola Run (Lola Rennt, 1998)
1.2.3. Blind Chance (Pryzpadek, 1987)
1.3. BRANCHING NARRATIVES IN OTHER MEDIA 13
1.3.1. Plays and pantomimes
1.3.2. Novels
1.4. THE USE OF BRANCHING NARRATIVES IN VIDEO GAMES 15
1.5. MULTIPLE ENDINGS 15
1.5.1. Relation to branching narratives
1.6. WHY USE THESE TECHNIQUES? 15
1.7. PROBLEMS WITH SEQUELS 161.8. PROS AND CONS 16
2. THE TARGET GENRE AND AUDIENCE 17
2.1. LOOKING FOR PATTERNS 18
2.1.1. Genre
2.1.2. Age and audience
2.2. ROLE-PLAYING GAMES 20
2.2.1. A brief history
2.2.2. Inspiration and early alternatives
3. CREATING A METHOD OF ANALYSIS 22
3.1. THE TEN RULES 23
3.1.1. Method of creation 23
3.2. RULE #1 PLAYERS WANT THEIR GAMEPLAY UNRESTRICTED 24
3.3. RULE #2 PLAYERS WANT TO FEEL THE EFFECT OF THEIR DECISION 25
3.4. RULE #3 PLAYERS WANT THE OPTION TO CHANGE A DECISION 26
3.5. RULE #4 PLAYERS WANT DIFFERENT EXPERIENCES WHEN PLAYING A SECOND TIME 27
3.6. RULE #5 PLAYERS WANT CANONICAL SEQUELS 28
3.7. RULE #6 PLAYERS DONT WANT ENDINGS TO BE A PUNISHMENT 29
3.8. RULE #7 PLAYERS SHOULDNT HAVE TO PLAY MORE THAN THREE TIMES TO OBTAIN
aaaaaaaaaaaaaaTHE FULL NARRATIVE 30
3.9. RULE #8 PLAYERS DONT WANT MORAL CHOICES JUST BECAUSE THERE IS A MORAL
aaaaaaaaaaaaaaCHOICE SYSTEM 31
3.10. RULE #9 PLAYERS SHOULDNT HAVE TO CONSIDERABLY CHANGE PLAY STYLES 323.11. RULE #10 PLAYERS SHOULDNT GAIN A GREATER REWARD FOR A PARTICULAR
aaaaaaaaaaaaaaaAMORAL CHOICE 33
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4. ANALYSING EXISTING GAMES 34
4.1. METHODOLOGY OF THE ANALYSIS 35
4.2. FALLOUT: NEW VEGAS (2010) 36
4.2.1. Game synopsis
4.2.2. Why this game?
4.2.3. Analysing against the ten rules4.3. ATELIER RORONA: ALCHEMIST OF ARLAND (2009) 40
4.3.1. Game synopsis
4.3.2. Why this game?
4.3.3. Analysing against the ten rules
4.4. MASS EFFECT (2007) 44
4.4.1. Game synopsis
4.4.2. Why this game?
4.4.3. Analysing against the ten rules
4.5. 999: 9 HOURS, 9 PERSONS, 9 DOORS (2009) 48
4.5.1. Game synopsis
4.5.2. Why this game?
4.5.3. Analysing against the ten rules
4.6. HEAVY RAIN (2010) 524.6.1. Game synopsis
4.6.2. Why this game?
4.6.3. Analysing against the ten rules
5. CONCLUSION 56
6. BIBLIOGRAPHY AND APPENDICES 60
6.1. BIBLIOGRAPHY 61
6.2. APPENDICES 62
6.2.1. Appendix #1
6.2.2. Appendix #2
6.2.3. Appendix #3
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Introduction
A common criticism made about branching narratives in video games is with multiple
endings. An often voiced concern is that there only seems to be one true ending, and that
the other potential endings leave the player feeling alienated from the true story. A good
example of this is the original Half-Life (1998) game. A decision at the end of the game seesyou either working for a mysterious character, or being transported to an alien planet,
unarmed, to fend for yourself. While a situation like this is ideal for standalone games, as it
promotes replay value, what is the effect on the players that move to Half-Life 2(2004),
only to find that they are working for the mysterious character after all? Does this render
their endeavours in the previous game utterly pointless?
Of course, it is not simply the endings of games that raise the same questions. In Fallout:
New Vegas(2010), players have a whopping four factions to work for at a particular branch
in the narrative, ultimately affecting the sides of an impending war and its outcome. Is there
one correct or best route? Does it change the ending, causing potential rifts in sequels? Is
it ultimately worth it, or realistic, that people should be playing this game multiple times to
discover the narrative hidden in the different branches?
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Chapter 1
An Introduction to Branching Narratives
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1.1 What is a branching narrative?To understand exactly what a branching narrative is, we can look at the base definitions of
both terms.
Narrative: a story; an account of a sequence of events, whether fictional or non-fictional. To be
distinguished from writing that is strictly descriptive, expository (like an essay), or dramatic (i.e., like a
play). A narrative may include some description and analysis, but it must tell a story. It has a narrator who
addresses someone (usually us, the readers).[1]
As you may assume, the narrative in a video game is the story behind the gameplay. Saving
a war-torn Earth from an alien threat, starting a family and even searching for treasure are
narratives. An existing example would be to look at the popular PC game Half Life (1998),
where the protagonist Gordon Freeman triggers the horrific incident known as the
resonance cascade while performing an experiment, causing massive destruction, death
and an alien infestation of the entire Black Mesa Research Facility [2].
It is with this understanding that we can look onto the meaning of branch or branching.
The word itself has many definitions, though it is only one that we need to explore:
- A division of a stem, or secondary stem arising from the main stem of a plant
- A part of a forked or branching shape; "he broke off one of the branches"
- An outgrowth: a natural consequence of development
- A divide into two or more branches so as to form a fork"[3]
With this in mind, a perfectly linear narrative can be illustrated as running in a straight line.
The far left end would be the start of the story, were as the far right would be the end or
conclusion.
To create a narrative branch, there typically needs to be a decision made. In video games,
this would be an input of some kind, regardless of whether this choice is dictated to the
player themselves. This could work differently in other media, for example a list of choiceson an interactive DVD movie or a crowd response for a play or pantomime. Regardless, a
choice would account for 99% of the branches in narratives, with the remaining examples
coming down to media featuring a random factor.
Using Fallout 3 (2008) as an example, a basic demonstration of a narrative branch can be
displayed. At the beginning of the game, the player character is allowed to choose what to
do with an undetonated bomb. The narrative would essentially split at this point due to the
potential choices available.
Start End
[1] Iolani (2010) English 10 Literary Terms Short Story[Online]. Available from:http://www.iolani.org/usacad_eng_eng10ssterms_cw9404.htm [Accessed: 29 December 2010][2] Planet Half-Life (2010) Half-Life [Online]. Available from:http://planethalflife.gamespy.com/hl/ [Accessed: 29 December 2010][3] WordNet (2010) WordNet Search 3.0 [Online]. Available from:http://wordnetweb.princeton.edu/perl/webwn?s=branch [Accessed: 29 December 2010]
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While the two endings may not necessarily be different, two realities are created due to this
one decision. In one branch, the game ends with the bomb deactivated, and in the other it
ends with the bomb having been detonated. Regardless of the event not having a direct
impact on the ending itself, this is an example of a very basic narrative branch.
Of course, there are an infinite number of different ways that will create a narrative branch.
A current trend in recent video games involves making karmic choices. The player will be
presented with three different options to choose from, with each of these offering good,
neutral or bad karma.
An example scenario that would use karmic decisions would be if a town is threatened by
thugs. The bad choice would be aiding the thugs and taking over the town, the neutral
choice would be removing the thugs for a fee and the good choice would be removing thethugs for free. Karma choices can also branch further by having two karmic decisions one
after other, with players able to pick a good and a bad choice for example.
Start
Deactivate the bomb
Detonate the bomb End
End
Start
End
End
End
Good karma choice
Neutral karma choice
Bad karma choice
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1.2 Branching narratives in cinemaBranching narratives have existed in films long before video games, so it is beneficial to look
at famous examples of these in order to use them later in the analysis for current video
games. Similarities between game and film will also be able to be drawn.
1.2.1 Sliding Doors (1998)What is Sliding Doors?
The film follows a woman that has just lost her job, but when she heads to the underground
to catch a train, the movie splits. The film follows both what happens if she catches the
train, as well as if she misses it.
Branching narratives in Sliding Doors
The film centres on a split narrative, based on whether or not the main character reaches a
train on time or not. For the rest of the film, differences are shown in the two branches
solely because of this event. Due to this branch, the film is presented with two potential and
different endings. Due to the film being marketed and created around such a device, the
film makes sure that the scenes are linked smoothly and work well out of chronological
order.
1.2.2 Run Lola Run (Lola Rennt, 1998)What is Run Lola Run?
The main character is given the space of twenty minutes in order to collect 100,000 German
marks to save her boyfriends life. The film splits into many what if? scenarios.
Branching narratives in Run Lola Run
This film almost seems like a mix between both Sliding Doors and Run Lola Run. The film is
based around catching a train (possibly where Sliding Doors found inspiration from), and
there are three potential outcomes that are played out fully and in sequence (identical toRun Lola Run). It is a particularly good reference point to show that it is entirely possible to
have a video game change significantly and seamlessly without harming the narrative flow.
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1.2.3 Blind Chance (Pryzpadek, 1987)What is Blind Chance?
The lead character is rushing to catch a train to Warsaw and while doing so, bumps into astranger drinking beer. The film shows what happens next, as well as two other scenarios
that happen at the train station should he not collide with this man.
Branching narratives in Blind Chance
Similar to Sliding Doors, the movie revolves around a branching narrative, though in this
instance instead of two outcomes, there are three. The film essentially plays the first branch
from beginning to end, before returning to a particular point in the past and branching,
creating another potential outcome. This is repeated a third and final time which concludes
the story. Again, it shows that branching narratives need to be thought about foremost tobe able to derive the most from them.
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1.3 Branching narratives in other mediaOf course, branching narratives are not limited to films and video games alone, but exist in a
variety of other formats. They have been used as a method of bringing people coming back,
be it to re-read a book or to re-visit a particular show or event. They essentially increase thelongevity of a particular product for less effort than it would take to create an entirely new
version of the media in question.
1.3.1 Plays and pantomimesPerhaps the earliest example of branching narratives in
either a play or pantomime exists in the 1934 play by Ayn
Rand; Night of January 16th
. The basic premise of the play
is that a woman (Karen Andre) is on trial for the murder
of her employer-come-lover (Bjorn Faulkner). Instead ofthe play then proceeding like this for the entire duration,
there is an unusual twist, a jury composed of audience
members will decide her fate at the end of the play [1].
This of course presents the most basic of narrative
branches, the scenario where the jury votes guilty and
the scenario where the jury votes not guilty.
As for a modern example, there is the long-running Shear
Madness which has been running since 1980. Set in a
unisex hair salon, the audience are tasked with helpingthe actors find the killer amongst them, after discovering
a murder in the early stages of the show. The play itself
contains an intermission, where the actors
take to the seats of the theatre to talk to
the audience in character. At the end of the
intermission, the audience votes for who
they believe is the murderer, and the play
follows a different route from then on. As
Seth Bisen-Hersh comments, the play is in
such a style that you can go again, vote fora different ending, and see what new jokes
were added just for that night [2].
Another notable example is The Mystery of
Edwin Drood, a play based on the
unfinished novel by Charles Dickens. The
audience can vote for both who they
believe to have committed a murder, as
well as a romantic couple, due to Dickens
death before finishing the novel.
[1] Lawrence (2009) Night of January 16th [Online]Available at: http://www.noblesoul.com/orc/books/rand/night.html [Accessed 10 April 2011][2] Bisen-Hersh (1999) Shear Madness [Online]Available at: http://tech.mit.edu/V119/N48/Shear_Madness.48a.html [Accessed 10 April 2011]
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1.3.2 NovelsNarrative branching has also been achieved in a few
ways in print, via novel. Hopscotch by Julio Cortzar
was published in 1963 and is thought to be theearliest example of a book with multiple endings. At
the end of chapter 56 of 155, Cortzar writes "the
reader may ignore what follows with a clean
conscience" [1], indicating the alternative ending to
the story.
Charles Dickens Great Expectations is another novel
that contains an alternate ending. However,
contrary to the deliberate inclusion of an alternateending like with the story of Hopscotch, the
alternate ending to Great Expectations was
published in revised editions. The reasoning behind
this is that Dickens changed the ending shortly
before publication, but kept hold of the original
ending he had written before. This is now typically
used as bonus material.
A very popular medium containing a massive amount
of narrative branching are the plethora of choose your
own adventure novels available. The stories typically
present the main character as yourself, allowing you to
pick the decisions yourself, having you move to
different page numbers to progress a story. Due to the
amount of decisions in these books, they can typically
have over 20 different endings per book, with one of
these being the true ending.
A common occurrence with these books involves the
reader placing their fingers inside the book to
remember which page they are on, just in case a
decision they make results in a bad ending. This is an
early example of how decision making in video games
should consider the desires of the player when forcing
decision upon them.
[1] Complete-Review (2010) Hopscotch [Online]Available at: http://www.complete-review.com/reviews/cortazar/rayuela.htm [Accessed 11 April 2011][2] Katz (2011) Gamebook Web Page [Online]Available at: https://reader009.{domain}/reader009/html5/0519/5aff842c5a123/5aff8435bbf5d.jpg[Accessed 11 April 2011]
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1.4. The use of branching narratives in video games
Branching narratives have appeared in video games as early as Bubble Bobble (1986) and
continue to make frequent recurrences, with many of the current popular titles utilising
them in one way or another.
1.5 Multiple endings
Most narrative based media contain stories that are simply read from beginning to end, yet
in some circumstances there can be more than one way to end them, usually at the choice
of the reader. These examples can prove to be a simple gimmick, yet they can be utilised
well to increase the longevity of the piece. For example, choose your own adventure books
such as those previously mentioned would be exceedingly short and unlikely to be reread,
but with the ability to make different decisions and reach an alternate ending, the
experience is prolonged.
1.5.1 Relation to branching narratives
Multiple endings require narrative branching, yet narrative branching does not necessarily
mean there will be multiple endings. For example, an alternate ending means that an event
has changed at some point in the story, this point being the narrative branch. If the ending is
unrelated to the situation presented beforehand, then the narrative is simply another story
rather than a direct continuation of the former. There is, however, one exception from this
rule. This is that the multiple endings do not in fact change events, but expand them. For
example in the basic ending, a character may find a powerful sword, but in the best
ending, he finds the same powerful sword and defeats an enemy with it. This is more of an
expansion of the story rather than creating a branch, so a branch isnt created.
1.6 Why use these techniques?
Branching narratives are created for several reasons, one of these being to create karma
systems. Karma systems themselves usually require either two or three different responses
or outcomes per branch. This is because of needing a good and bad response, with many
games often adding a third, neutral option. Based on this choice, the world will react in anoticeably different way to the alternate decisions. Of course, karma systems wouldnt
necessarily have to have narrative branches that differ based on these decisions, but it then
becomes questionable as to whether you really need a karma system if everything stays the
same.
They can also be used as a punishment and/or reward system. Games such as Disgaea 3
(2008) use the players failure to complete particular missions as a way of changing the
games story, and as a result cutting it shorter than the true story. However, players can still
continue the true story providing they dont overwrite their last save data.
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Multiple endings are often used as a reward. In the game Star Ocean: The Last Hope (2009),
character specific endings are acquired by completing specific dialogue sequences
throughout the main story. While these endings do not affect the plot directly, they do offer
the bonus of watching what happens to the characters after the end of the game. The
second game in the same series, Star Ocean: The Second Story (1998) has a total of 86
different endings to collect, based on dialogue read and decision made during the story.
1.7 Problems with sequels
The problem with sequels to games that contain narrative branches is that the sequel
should follow the choices you have picked. Realistically, you are continuing your adventure
and so bad endings should indeed be reflected in a potential sequel. Games such as Mass
Effect (2007) remedy this by utilising the save game of the previous title, but many games
like to assume that the best ending was achieved. The downloadable title Dead Rising 2:
Case West (2010) actually continues from Dead Rising 2 (2010), on the assumption that
ending A was achieved. The game has six endings; S, A, B, C, D and F, with S being the best
and F the worst. This is why it is strange that it would specifically continue from ending A,
rather than S.
This of course only applies to direct sequels wherein the same characters are featured and
past events are featured in some way. Indirect sequels have no bearing on this, for example
Final Fantasy VI (1994) when compared to Final Fantasy VII (1997).
1.8 Pros and cons
Narrative branching doesnt come without its downsides, but it is a necessity to creating a
fully fleshed out game with varying decisions. The following is a list of the pros and cons
concerning their use in video games:
Pros
They allow you to create the illusion of choice in a game. They increase the longevity of the game. They allow you to play closer to what you would want to, rather than being tied to
one story.
Cons
Can create discrepancies with sequels if not thought out. Can leave players missing segments of story if they decide not to replay the game.
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Chapter 2
The target genre and audience
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2.1 Looking for patterns
It is of course apparent that not every game that comes onto the market contains either
narrative branching or multiple endings, which is why it is important to gauge exactly what
kinds of games use them and why. From this, it is possible to understand the exact reasonsbehind including decisions in the first place.
2.1.1 Genre
To obtain data to analysed, the fifty top-selling games of 2011 were looked at (see appendix
one). Out of the fifty titles, only five of these used split narratives; Dragon Age 2 (2011),
Monster Hunter Freedom 3rd
(2010) (a Japan only release thus far), Grand Theft Auto IV
(2008), Red Dead Redemption (2010) and Mass Effect 2 (2010). All of these are in face RPG
games somewhat, with all but questionably Grand Theft Auto IVhaving RPG as the
predominant genre of the game. Using this information, the top fifty RPGs by sales werethen looked at. The list was also limited to the Xbox 360, due to both a wider range of RPGs
to choose from, as well as keeping the data within the last six years.
Of these titles, a whopping 23 titles feature narrative branching in one form or another (see
appendix two). Eight of the top ten games on the system were included in the 23, with
multiple entries for series like Fallout, Fable and MassEffect. Other genres were also looked
at for comparison. Action featured a mere 4 of its top 50 featuring narrative branching, of
which one of these was also in the RPG list (Grand Theft Auto IV). The other genre that
would most likely feature decision making is adventure titles, with 17 titles. Fourteen of
these were Japanese visual novel games, making the list predominantly due to theirpopularity in Asia. Decision making is a key mechanic of visual novels, which are very similar
in comparison to choose your own adventure books.
RPGs will be the genre used when further analysing the use of branching narratives. Besides
the fact that there are six more titles in the top fifty when compared to adventure games, it
is also because RPGs are localised and released in most countries with the console to use
them. Most Japanese visual novels never make it out of Asia due to the cost of translation,
as well as a lack of interest in Western gamers. Using this logic, adventure games can be
knocked down to three titles, with the RPG genre being further ahead.
[1] VGChartz (2011) Yearly [Online]Available at: http://www.vgchartz.com/yearly.php [Accessed 12 April 2011][2] VGChartz (2011) 360 RPG [Online] Available at:http://www.vgchartz.com/worldtotals.php?name=&publisher=&console=X360&genre=RPG&minSales=0&results=50&sort=Total [Accessed 12 April 2011][3] VGChartz (2011) 360 Action [Online] Available at:http://www.vgchartz.com/worldtotals.php?name=&publisher=&console=X360&genre=Action&minSales=0&results=50&sort=Total [Accessed 12 April 2011][4] VGChartz (2011) 360 Adventure [Online] Available at:http://www.vgchartz.com/worldtotals.php?name=&publisher=&console=X360&genre=Adventure&minSales=0&results=50&sort=Total [Accessed 12 April 2011]
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2.1.2 Age and audience
Using the data taken from the top fifty RPGs that contain narrative branching, it is possible
to look at ages and audiences for games that feature these techniques, as well as consider
why this is the case. The classifications of each game were recorded for both ratings systemsthat operate in the UK: the BBFC rating (British Board of Film Classification) and the PEGI
rating (Pan European Game Information). The reason for looking at both of these simmers
down to two points. The first is that the ratings vary, due to the categories each company
will put games into. For example, the BBFC have an age 15 rating, were as the closest rating
PEGI has is the 16+.
As you can see, the majority of
ratings given by PEGI to RPGs that
feature narrative branching fall
into the PEGI 18 category. This islikely due to the realism most of
these games try to gain to immerse
or interest the player, as well as
including blood, gore and sexual
contend. Over a quarter of these
fall into PEGI 16, showing that
almost three quarters of these
games are targeted at those aged
16 or over.
A little over a quarter each fall
into either BBFC 15 or BBFC 18
ratings, also showing a heavy teen
influence on games with narrative
branches. It may be due to the
BBFC also rating films that games
seem to have fewer 18 ratings as
they can be directly comparable,
though it could also be the case
that these titles are falling into
the unclassified category.
The unclassified category appears on each pie chart for different reasons. For the PEGI
ratings chart, it is largely because the BBFC rating can be widely recognised in Britain as a
seal of approval as well as a classification. Some games will seek out a rating from them over
PEGI for this reason. BBFC has a lot of unclassified games, mainly due to the fact that the
service is far more expensive. Many new developers will go for the PEGI rating to maximise
their budgets and not hamper profits further.
Aiming a decision based RPG on those aged 16 and above seems to be the most idealsituation, though raising the rating to an 18 wont tarnish sales much either.
PEGI Games per Classification
PEGI 12
PEGI 16
PEGI 18
Unclassified
BBFC Games per Classification
BBFC 12
BBFC 15
BBFC 18
Unclassified
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2.2 Role-playing games
While role-playing games have become commonplace on recent gaming systems, they were
few and far between on consoles such as the Nintendo Entertainment System when they
were still being researched and experimented with. Over time, the genre has evolved into amuch broader classification, with many new games being released, designed to break the
mould that its predecessors have formed.
2.2.1 A brief history
The first few RPG video games were seemingly made on
old computer systems and existed predominantly as text
adventures. Due to the limitations of the hardware at the
time, introducing complex imagery of scenery or monsters
was a far cry. However, games such as this kept beingcreated; lending a hand to the creation of the first RPGs
in the style we see them in today.
Perhaps the most famous of the early RPGs is Final
Fantasy (1987), most predominantly because of its long
run of sequels and spin offs. Whilst still fairly primitive,
the game offered players a vast world they could see and
explore, as well as train characters and defeat monsters
while working
through a story.Dragon Quest
(1986) was an even earlier RPG released on the same
platform, that being the NES. While the Dragon Quest
series is not largely popular to the majority of
Western gamers, they are even more popular than
Final Fantasy titles is Japan where it originates.
Games in this genre continuously evolve, be it
developing deeper stat systems, changing from
random battles to active battles, or simply viaaesthetic differences. They have indeed upheld the
trend of being exceedingly popular in Asia, while
Western fans are fewer in number.
[1] TS1.MM (2000) Final Fantasy [Online] Available at:http://pics.mobygames.com/images/covers/large/1239413216-00.jpg [Accessed 13 April 2011][2] MobyGamer (2011) Dragon Warrior [Online] Available at:http://ts1.mm.bing.net/images/thumbnail.aspx?q=702573064052&id=2b3ad55587ff926ff7eda153a8b5041a&url=http%3A%2F%2Fimage.com.com%2Fgamespot%2Fimages%2Fbigboxshots%2F8%2F563408_29015_front.jpg [Accessed 13 April 2011]
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2.2.2 Inspiration and early alternatives
The largest influence of RPGs outside of other video games is from the tabletop game of
Dungeons and Dragons. It has been a popular game to roleplay since its creation in 1974,
which is one potential reason why the video game counterparts were so widely sort after.The premise of the game is that one
player, known as the dungeon master
or DM, would create a world for the
other player controlled characters to
explore together. Enemies, treasure
and scenario are but a few things that
can be created with this game, with
very few rules being required when
playing casually. Of course, keeping
track of statistics, deciding whatcomes next and finding enough friends
to play with you is certainly a problem
for some people, which is where RPGs
come in. They are largely single player,
with the equivalent of the dungeon masters role being controlled by the computer. They
can largely be considered a pick up and play alternative to the classic table top game.
The thirst for fantasy themed past times can be linked to
novels and early film. Most notable of these is The Lord
of the Rings, the famous series of novels written by
J.R.R.Tolkien. The first of these books, The Fellowship of
the Ring, was released in 1954 and a long time before
computers were used to replicate adventures similar to
those in the books. However, they were by no means
the first to touch the subject of mythical happenings and
fantasy. The Epic of Gilgamesh, a story about an
adventure between Enkidu and Gilgamesh, travelling
and questing at the displeasure of the gods. The
significance of this piece is that they were likely written
in the Third Dynasty of Ur, a time between 2150 and
2000 BC. Fantasy has long been on the minds of human
kind, yet it has only been recently that these have begun
to manifest.
[1] Stansfield (2010) Dungeons and Dragons [Online] Available at:http://richardlstansfield.files.wordpress.com/2010/03/800px-dungeons_and_dragons_game.jpg[Accessed 13 April 2011][2] 4.bp (2011) Lord of the Rings [Online] Available at: http://4.bp.blogspot.com/_3M-N-pevHKY/TM6TW79E0LI/AAAAAAAAD_o/_7XtoeRrBBg/s1600/LordofTheRings.jpg[Accessed 13 April 2011]
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Chapter 3
Creating a method of analysis
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3.1 The Ten Rules
In order to be able to judge what is and isnt a good technique to adopt when it comes to
narrative branching and the related, a system must be devised to analyse games that
already exist. Using this, it will be possible to see the shortcomings of those already on themarket, as well as discover ways to solve these issues. If all games analysed follow one of
the rules, it can be surmised that that rule in particular is important to follow.
3.1.1 Method of creation
Ten rules will be created by looking at other media and discovering if there are any recurring
issues in these types of games. Once an idea for a rule has been created, it will then be
analysed and proven that it is worthy of being used to analyse existing games with narrative
branching techniques. These ten rules can then be followed by games that wish to use
complex decision making in order to minimise issues that players may or will have an issuewith.
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3.2 Rule #1 Players want their gameplay unrestricted
Warren Spector firmly believes that if were really going to be interactive, if were really
claiming to collaborate with players, then let them express themselves through play [1].
The problem with this, of course, is that not every player plays the same way. Each playerwill have a different story to tell and countless ways to create a journey theywanted [2], so
giving players the tools to create such a scenario is paramount when creating a game with
such depth. We can understand this better by looking at a typical karma-based system.
We already understand that karma systems exist
to allow players to play the role of a good, neutral
or evil player. This itself poses a decision to the
player from the get go, allowing the game to
appeal better based on the player themselves.For example, if you wish to play as an evil
character, Fable 2(2008) will have a better
appeal right off the bat, than say a game like
Crackdown (2007), where you are locked into
being good. A simple karma system itself avoids a
lot of the restricting ludological features
commonly found in linear games. You are playing
as an avatar of yourself, rather than a named
character with a predefined story.
Thus, the inclusion of decision based changes to
the story allows the game to appeal better to the
player at hand. As Spector later mentions, if you
give the player a variety of simple tools to use and a world which has some depth of
simulation, that allows emergence [3].
[1] Warren Spector (2010). Edge Magazine (December 2010, Issue 222).Bath: Charles River Media. Page 62.
[2] Shaun Curnow (2010). Games Master (December 2010, Issue GM232).Bath: Charles River Media. Page 68.[3] Warren Spector (2010). Edge Magazine (December 2010, Issue 222).Bath: Charles River Media. Page 62.[4] Buzz Media (2009) Uploads [Online]Available at: http://www.thebuzzmedia.com/wp-content/uploads/2009/01/fable-2-box-art-front.jpg[Accessed 13 December 2010]
[4]
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3.3 Rule #2 Players want to feel the effect of their decision
When its me who is faced with having to choose between two bad options, I get a level of
understanding that marines face in combat that I would not get by watching someone else
make that decision [1] says Peter Tamte, while talking about his upcoming game Six Days inFallujah (TBA). A decision cannot simply be a means of moving the story along, it has to
carry with it several things. The feeling of change, knowing that you have the power to alter
events is simply one of these.
A game called One Chance (2010) is a good example of how to successfully execute a
decision system in a video game. As Alec Meer describes it, One Chanceis a game about
making choices, then dealing with whatever happens [2]. The game itself is very basic,
allowing you to make simple
choices in the last week of yourlife. As a scientist who has helped
accidentally create what could be
the death of all of mankind, do
you spend your last days working
on the cure, or do you stay home
to be with the people who love
you the most? The game does not
allow you to replay the game after
the ending is reached, insteadshowing you an image of the world you left behind. While it is such a simple game in
concept, it proves that larger, mainstream games have something to learn on split narrative
execution. As Meer puts it, that I feel awful is precisely why One Chance is a success[3].
On the contrary, if the decision itself has no meaning, players will be quick to point faults.
One much-trumpeted sequence in which you choose to leave a friend to die or drag him
the length of a desert simply doesnt have the promised consequences your decision is
made irrelevant by the following cutscene [4] comments Edge Magazine on Fable 3 (2010),
and quite rightly so. If a scenario is destined to happen, why make a decision out of it?Consequence is vital when driving home the meaning behind decision making in games, so
making hollow decisions only serves in alienating the players from feeling truly in control.
[1] Peter Tamte (2010). Edge Magazine (December 2010, Issue 222).Bath: Charles River Media. Page 70.
[2] Alec Meer (2010) Last Night: One Chance [Online] Available at:http://www.rockpapershotgun.com/2010/12/07/last-night-one-chance/[Accessed 13 December 2010][3] Alec Meer (2010) Last Night: One Chance [Online] Available at:http://www.rockpapershotgun.com/2010/12/07/last-night-one-chance/[Accessed 13 December 2010][4] Edge Magazine (No author credited) (2010). Edge Magazine (December 2010, Issue 222).Bath: Charles River Media. Page 81.
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3.4 Rule #3 Players want the option to change a decision
Quite ironically, while in-game decisions need to have an impact to them, sometimes
players want to go back on their choices. The notion may indeed be similar to that of playinga choose your own adventure style book as a kid, where you would have multiple fingers
stuck between different pages to prevent a bad ending stopping your adventure.
There's a problem with branching paths and moral decisions in videogames: even if they
are meaningful (few are), players can usually bypass the system by using multiple save files
or other means to go in for another attempt and a different outcome[1]. The words of
Jordan Devore are quite true. Many players will create multiple saves in order to experience
the most that a game has to offer, cheating their way out of having to replay most of the
game again. The comments on Newgrounds (the website that hosts One Chance) are full of
people angry about [not being able to replay One Chance] [2] says Colette Bennett, and
yet, [the creator] says the heart of the game is about facing the consequences of your own
actions [3].
So why is such animosity garnered from the lack of a simple replay or save feature? It could
be that players dislike the lack of control they have over achieving any or all of the potential
routes. Perhaps completionists dislike the knowledge that they cannot test and discover
what could have happened. One potential answer to this stems from looking at the role of
the game itself.
Could it perhaps be that the player feels as if it is no longer a game they are playing, but a
simulation? It's more a human life concept than something that belongs in a video
game[4] admits Bennett, again talking about the decision-heavy One Chance. The real
world only allows you to make certain decisions once. Some decisions we have to make can
be hard, so wrong or not, we will look back on our choices years afterwards. While these are
justifiably replicated in simulation games, should they exist in a regular RPG? The answer
will always vary based on the player; some people will be happy to watch their decisions
face consequences, while others will want to start over to achieve a particular scenario.
We aren't accustomed to making hard decisions. We dislike consequence [5] was
Bennetts summary. While there are definite positives on both sides of the coin, a simple
save or replay system will bring more satisfaction than dissent.
[1] Jordan Devore (2010) You Have One Chance to Save the World [Online] Available at:http://www.destructoid.com/you-have-one-chance-to-save-the-world-189094.phtml[Accessed 13 December 2010][2, 3, 4, 5] Colette Bennett (2010) One Chance: Consequences in Gaming [Online] Available at:http://www.destructoid.com/one-chance-consequences-in-gaming-189151.phtml[Accessed 13 December 2010]
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3.5 Rule #4 Playe
playing a second ti
It is well known that many pl
discover more about a games
because they enjoy the game
with, even fall in love with, th
must a game do to lure a gam
A good example to look at is
Generations of War (2009). T
cross between a novel and a
game, yet it adopts a unique
narrative delivery. The gamedialogue to draw the player i
game; to discover more abou
characters and of course, to l
is it worth forcing the player i
playthroughs to discover all o
Does the developer themselv
Clearly Idea Factoryhas thou
about this decision, including
and narrative branches.
The inclusion of multiple endi
own questions, however. Do
to the game going in opposit
shortcomings? In the case of
other less significant interacti
the reactor yourself, you alre
able to guess the outcome, b
be a major draw to some gen
[1] Robyn Theberge (2010). EdgBath: Charles River Media. Page[2] Ghostlight (2010) Agarest: Ghttp://agarest.ghostlight.uk.com
s want a different experienc
e
yers will play through a game more than on
narrative, to play as a different kind of char
. As Robyn Theberge put it, Its the people t
at keep you going back and playing every da
er into playing a game through more than t
he PC gameAgarest:
e game itself is a
actical role-playing
pproach at
ses its well writtento replaying the
t the scenario, the
vel up. This in mind,
nto multiple
f these secrets?
es benefit from this?
ht long and hard
multiple endings
ngs also raises its
he endings exist due
directions, or are they there to highlight th
garest, the ending is determined via charac
ons. For example in Fallout 3 (2008), if you d
dy have a good idea of the outcome to this
it through sheer surprise or a manner of pl
res, most particularly shooters and visual no
Magazine (December 2010, Issue 222).0.neration of War [Online] Available at:images/agarest_front.png [Accessed 13 April 2011]
27
when
ce, be it to
cter, or simply
hat you connect
y [13]. What
e once?
players
ter interaction and
ecide to walk into
action. Not being
t twists proves to
els.
[2]
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3.6 Rule #5 Players want canonical sequels
Alex Nevarro once claimed that Dead Rising (2006) had a plot that manages to be intriguing
without intruding too much on the action [1], so why is does a game with such a successful
narrative allow inconsistencies to be introduced to the game world? It has a total of sixendings, which can be simmered down to two bad endings, three okay endings and the
best ending. These bad endings do just that, killing off the protagonist Frank West upon
receiving one of them. However because of the game
having ended, and also due to the complex nature of
collecting the endings in Dead Rising in particular, most
people who have seen either of these endings will not
have seen the four regular endings. As far as they are
aware, Frank West is dead. This creates a problem in
terms of the overarching canonical story continued in
the sequel, most specifically Dead Rising 2: Case West.This story is set after the events of the first game, yet
with a very much alive Frank. Of course, to most people,
this is an enjoyable meeting of the two main characters,
yet to those who had since considered Frank dead, is this
really true? Walking over the story that was established
following a lengthy time investment only serves to
infuriate. It is of course completely reasonable to believe
that the endings were written due to the developers not planning ahead for a sequel, or
even for the reappearance of Frank West, but this has happened again in Dead Rising 2, let
alone being completely avoidable. To protect a game from inconsistencies or having to
suffer retcon (retroactive continuity), these endings should not have been endings at all.
There would be little change in the story if these were instead special game over screens,
that then returned the player to a previous checkpoint in order to obtain an ending that can
be easily continued in later games. If you want to kill a character, you should also be
prepared to abandon them should a sequel arise, unless it can be explained.
This does not simply apply to just endings either. For example, if you played as an evil
character that detonated the bomb in megaton in Fallout 3, you would certainly hope that a
sequel involving the same protagonist would continue where you left off with the world and
character in the same state. This is perhaps the reason why games such as Fallout 3 dont
create direct sequels and only loosely mention previous protagonists in subsequent games.
Even something as basic as voices can potentially stir the people that will ultimately be
buying and playing a product. Isaac Clarke didn't speak a word in Dead Space (2008),
despite the horrors unfolding around him [3] says Patrick Klepek, and why should he? In
fact, the use of a silent protagonist could be considered a unique selling point.
"The voice thing is really just about making the game believable," [4] states Steve Papoutsis,
which raises questions about how Dead Space does not have a voice, and perhaps if there
were problems with the original that should be addressed in the sequel.
[2]
[1] Nevarro (2006) Dead Rising Review [Online] Available at:http://uk.gamespot.com/xbox360/action/deadrising/review.html [Accessed 15 April 2011][2] Nevarro (2006) Dead Rising Review [Online] Available at:http://uk.gamespot.com/pages/image_viewer/boxshot.php?pid=928326 [Accessed 15 April 2011][3, 4] Klepek (2006) The Reason Dead Space 2 [Online] Available at: http://www.g4tv.com/thefeed/blog/post/703590/the-reason-dead-space-2s-once-muted-isaac-clarke-suddenly-has-a-voice/ [Accessed 15 April 2011]
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3.7 Rule #6 Players dont want endings to be a
punishment
When a game demands a significant investment of
time from the player, it often leaves a sour taste inthe mouth if you are suddenly struck with a bad
ending. There are simple solutions around this
problem, such as utilising multiple save states.
When playing the game Ever 17: The Out of Infinity
(2002), decisions made can be the difference
between life and death for the characters involved.
However, this game does indeed utilise such save
features to circumvent this issue, but games such
as the aforementioned Dead Rising and its sequel
can spring these endings on the player if theyarent aware of them or avoiding them. With a
poor save system that allowed for only one save
slot [1], players had no choice but to make
multiple playthroughs from the beginning just to
collect all six. In a world where you can simply view
these online, many people did, which makes the
endings somewhat redundant.
Visual novels are renowned for their complex use of branching narratives, as well as having
a plethora of different endings to unlock, which are usually tied into following particularcharacters rather than for playing well. Kagetsu Tohya (2001) is a good example due to the
availability of a flowchart that details the many paths that can be taken (see appendix 3).
Because these games are created with multiple playthroughs in mind, endings can be
obtained easier by allowing players to save before decisions. Most visual novels allow you
to save your progress and come back to them whenever, though they don't always let you
save at decision points. This feature is most notably useful when trying to avoid a Bad End
[2]. Thus, the player can pick one route and see that ending, then go back to the second
save for the other ending, with both counted as being earned legitimately.
A game with additive or expansive endings may be the way for players to be able to bothenjoy the ending they received, as well as not feel cheated out of the best or correct
ending. What this entails is that the basic ending that is obtained at the end of the game
regardless would depict all of the key points to the games actual ending. Extra scenes that
add or expand on this base ending could then be unlocked via reward, which only serve to
add a few extra scenes for curiosities sake, rather than key plot elements. Ideally someone
who received the standard ending would know everything necessary to be able to discuss
the ending with someone who has seen these extra scenes.
[1] Terminal Gamer (2010) Capcom Boss: Dead Rising 2 Will Be Better Balanced [Online] Available at:http://terminalgamer.com/2010/06/22/capcom-boss-dead-rising-2-will-be-better-balanced/ [Accessed 16 April 2011][2] Anime Vice (2010) Visual Novel [Online] Available at:http://www.animevice.com/visual-novel/22-653/ [Accessed 15 April 2011][3] Blogspot (2010) Osama Lemuel Black [Online] Available at:http://1.bp.blogspot.com/_Zsv-N_KACvI/TUtehMHjvdI/AAAAAAAABFU/gFxQ7TVZJ44/s1600/ever17.jpg [Accessed 16 April 2011]
[3]
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3.8 Rule #7 Players shouldnt have to play more than
three times to obtain the full narrative
Mass Effecthas a very simple method of determining alignment. You can either pick good or
bad choices, paragon and renegade respectively. With a system such as this, it is without
question that you can obtain all alternate speech from the decision making in a total of two
playthroughs. In a game such as this which involves a hefty amount of character
customisation and replayability, it never becomes an issue.
Fallout 3 has a similar system in place. There are
three different states of karma, which are
simply good, neutral and evil. Three
playthroughs of sticking to the correct responses
and you will have obtained all the narrative.Because each of these playthroughs requires
significant change in the way they are played,
they do not offer the dull monotony that
replaying a standard RPG with no customisation
would offer. Even the multiple endings can be
achieved in one play through should you
remember to save before entering the final
room.
Star Ocean: The Second Storyis one of many
examples that show that adding too much
content can become overkill. As mentioned before, the game has a whopping 86 different
endings to obtain, and while you can obtain more than one on a single playthrough, it will
eventually become a task too mundane for those who are not diehard fans of the title.
Adriaan den Ouden claims that a playthrough of the game can take anywhere between 20-
40 Hours [1], so collecting all of the endings could take a time investment of 150 hours or
more. To add to that, the endings are unlocked via sets of conditions being met, so you are
not guaranteed to collect all the endings that remain on a subsequent playthrough. Ofcourse, it is easy enough to follow a guide to collect the remaining endings, but if you have
to use a guide then the point is lost, as you may as well read up on them instead.
While it is expected to see extra content awarded to the players that put in the time and
effort to replay a game, putting vital story pieces as a way of tempting players into doing it
is the wrong way to go about it. Multiple playthroughs should not be expected, and should
instead be encouraged via gameplay, not narrative.
[1] Ouden (2009) The Corbomite Maneuver [Online] Available at:http://www.rpgamer.com/games/socean/so2se/reviews/so2sestrev1.html [Accessed 16 April 2011][2] Giant Bomb (2011) Fallout 3 [Online] Available at:http://media.giantbomb.com/uploads/0/24/176342-bright_bos__large.jpg [Accessed 16 April 2011]
[2]
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3.9 Rule #8 Players dont want moral choices just because
there is a moral system
When a game contains a moral choice system of some sort, it can be easy for the decisions
that are dotted around the main game to be all related to a karmic alignment. This does not
have to be the case, with simple decision making often being forgotten in the aftermath. A
decision that asks if a player wishes to go to town A or town B shouldnt be reworked into
a karma choice. Games have plenty of other ways to utilise karma, including decisions that
can really benefit such as the life or death of a character.
An example of this involves the ending to Fallout 3. In the last action to possibly take in the
main game, the player must make a decision on how to stop a sabotaged water purifier. The
good option here is to do it yourself and die in the process, with the bad choice being to do
nothing to help and get someone else to do it. The first point is that with this being the finalchoice in the game, a karma related decision
is nigh on pointless. You could play as the
most evil character ever to walk the
wastelands, yet still achieve the good
ending based on your action, and vice versa.
Whats more, with the addition of the
Broken Steel (2009) expansion, you will
survive the ordeal regardless, making the
moral choice worthless. The choice is
unnecessary, and should the good or evil
approach be required, it should have been
tied to the player characters alignment from
the main game.
Fable 3 can again be used as an example of this. In the aforementioned scene with your
friend dying, you are given the choice to save him or to leave him. This in itself is a correct
way to use a moral choice, as it presents what seems like a genuine situation that would
require such a hefty decision. Unfortunately the choice is irrelevant, there only to serve asone of many points to collect karma via choice. Due to the end game making a habit of using
karma related decisions, its hard to find the reason as to why it was included. The character
himself was important, yet not pivotal enough to need to live. Having his death become an
option would have corrected the choice, given a reason for it and a physical representation
of that choice later on in the game.
[1] Saw (2008) Leipzig 08: Fallout 3 Sets Date [Online] Available at:http://monstervine.com/2008/08/leipzig-08-fallout-3-sets-date-the-bomb-drops-on-october-28/[Accessed 21 April 2011]
[1]
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3.10 Rule #9 Players shouldnt have to considerably
change their play style
Games that encourage swapping roles, classes and objectives can help prolong a games life,
and is certainly recommended when trying not to risk boredom or monotony in a game.However, it is when games offer rewards based on data like speed when the game can stop
being fun.
An example of this is in Final Fantasy IX (2000), where the player can earn the Excalibur 2
weapon by reaching a particular area within a pre-determined time limit. This time limit
starts at the beginning of the game, and essentially requires the player to speed through the
game if they want it. When a game as deep as an RPG requires you to speed through it for
the sake of an item, players will begin to miss key events, side quests and pieces of narrative
they would have otherwise seen.
The later versions ofHalf Life 2 also have a similar
feature, which gives the player an achievement for
completing it with only using a maximum of one bullet.
While these can be good for players that wish to play the
game a second time and in a different manner, there are
plenty of people that would attempt such a feat on their
first playthrough to eliminate the need to play it again.
This potentially scars the view that the player has of the
game, which does not help when you can earn more sales
through positive word of mouth. A simple unlock for thisupon initial completion would suffice, guaranteeing that
the player does not ruin his or her first experience.
Tales of Vesperia (2008) is notorious for having players
complete difficult challenges just for little things like achievements and alternate dialogue.
One of these requires you to beat the game in less than 15 hours, a feat that requires you to
speed through the game and not even daring to explore past the main quest. Another is to
defeat Barbos, one of the more significant bosses in the game, under level 15. For
comparison, the maximum level in the game is 200, with the recommended level you would
be at during this point having progressed regularly being roughly level 27. Activelysuggesting players to speed through the game is almost like telling them to ignore the
narrative altogether, and as mentioned previously, should only come after the initial
playthrough of the game.
[1] William (2011) Half-Life 2 [Online] Available at:http://www.moddb.com/games/half-life-2 [Accessed 21 April 2011]
[1]
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3.11 Rule #10 Players shouldnt gain a greater reward for
a particular moral choice
In a game where moral choice is solely down to the players decisions, offering a greater
reward for one choice in particular will bribe characters out of their characters role. Eachalignment or state of karma should offer similar rewards to prevent players choosing
narrative branches that they would have otherwise ignored.
Fallout 3 offers an interesting decision at the beginning of the game, which at first glance
does not seem like an offer weighted in either direction. The player is given an opportunity
to diffuse a bomb in the town of Megaton, and can either do this safely or rig it to blow up.
If you diffuse it, you are awarded with your own house in the town, or if you blow it up, you
get a room in the nearby Tenpenny tower. However blowing it up, the evil decision, has
many other repercussions that a good player would not suffer. Collectibles are lost in the
explosion, including a unique one that may not have been collected by the player at thispoint. Also, many quest-giving NPCs can be killed in
the explosion, or failing that, killed on the way across
the wasteland to find a new home. These
possibilities are of course not underlined, but will
eventually become known to the player later in the
game.
The Elder Scrolls IV: Oblivion (2006) also had a moral
choice system, yet again it seemed to be leaning in
favour of good. Morally good characters gain accessto more dialogue, benefits such as cheaper items
and more of the sort. However being evil can lead to
town guards endlessly chasing you when you appear,
essentially blocking you off from certain quests and
items. Stealing from certain towns and getting
caught can essentially ruin any further progression in
that town.
However, choices unrelated to moral decisions with varying rewards are usually fine. The
player is not bound to decisions like these with their characters, so they will be able todecide which choice they want and be unbiased. Would such a choice be morally bound,
there would be cased of good characters picking bad choices for the sake of a few items and
not because they themselves would pick that option if they were indeed in such a situation.
[1] Trazac (2009) The Elder Scrolls IV: Oblivion Review [Online] Available at:http://www.trazac.tk/ [Accessed 21 April 2011]
[1]
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Chapter 4
Analysing existing games
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4.1 Methodology of the analysis
First and foremost, a synopsis of each game will be given, so that it is easy to understand the
background to which these decisions are being used in. A short piece on why the particular
game is being analysed will explain the reasoning behind the choice, as well as thesuitability.
Each game will then be analysed using the ten rules stated previously. The game will then be
rated against each rule on a scale of zero to two; zero being that it fails to adhere to the
rule, with two meaning a sufficient adherence. By looking at these final scores, it is possible
to see which games have the most issues, and looks to draw reasoning from genre, platform
or even year of release. If the score for a rule doesnt make a two, the reasoning will be
given as well as potential solutions to these issues.
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4.2 Fallout: New Vegas (2010)
4.2.1 Game Synopsis
Set in the year 2281, America has become adesolate wasteland after a nuclear war. The
player character, known simply as the
courier was due to deliver a package, but
was assaulted and left for dead in a shallow
grave. Upon being rescued by a robot
known as Victor, the player can travel the
wastes in search of revenge, wealth and of
course, adventure.
4.2.2 Why this game?
Fallout: New Vegas contains is both a
shooter and an RPG, both of which are
exceedingly popular genres. It also has a
deep karma system and a large wealth of
decisions to be made, making it ideal to be
analysed.
4.2.3 Analysing against the ten rules
4.2.3.1 Rule #1 Players want their gameplay unrestricted
Fallout: New Vegas offers a karma system similar to that of its predecessor Fallout 3. Players
can choose to side with either good or evil, or even stay neutral while travelling and
exploring the wastelands. This means that the decisions presented will always have an
appropriate answer based on the karmic alignment of the character. There are also
reputation levels that keep track of the players actions in particular areas, meaning the
game will know if you are being evil in one area and good in the next, and treats youaccordingly in those areas. Karma specific missions and companions also help drive the
differences between each side, which helps the player believe that the game is adapting to
whichever play style they decide to adopt.
[1] Wehner (2010) Game Begins Fallout New Vegas... [Online] Available at:http://gotchamovies.com/ul/photos/movie/o/6c2dd3933ce996e7550c8a13abf60ae3-sc.jpg [Accessed 18 April 2011]
[1]
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4.2.3.2 Rule #2 Players want to feel the effect of their
decision
Created in part by the aforementioned karma system, choices are shown to have fairly large
effects of the game world. For instance, in the mission Come Fly with Me, you are taskedwith helping a small group of ghouls (who are humans that have become deformed by
radiation) launch themselves via rocket to a sacred place. During the end sequence of this
mission, you get to see the rockets launched as a reward of
sorts to finishing the quest at hand. This will also differ
based on the decisions made, for example sabotaging the
rockets will allow you to watch them crash. The majority of
decisions that can be made show the effects directly
afterwards, rather than hiding them or delaying the
effects.
4.2.3.3 Rule #3 Players want the option to change a
decision
Fallout: New Vegas offers players a large quantity of save states to use, which itself is only
limited by the hard drive the game is using. It is obviously that a decision heavy game cant
have confirmation screens or the ability to skip back a scene, but so long as the player saves
regularly and before decisions, they can prevent making a decision they will later regret.
However, an option to force incremental saves would be
handier, due to the face that Fallout: New Vegas savesupon changing areas, which would eliminate possibly
making errors in decision making. It is up to the player to
keep up and remember to do this, so it is certainly not
guaranteed that the player can change their ways without
restarting the game.
4.2.3.4 Rule #4 Players want a different experience when
playing a second time
Again, because of the complex karma system in place, it is easy to play as a completely
different style character a second time around. The sex of the player character becomes a
key feature to particular discussions, so choosing the opposite gender will also increase the
differences. Specialising in different weaponry and skills also open up different options,
while also closing others. There are also different factions that can be sided with for further
dialogue and scenario changes, each of which are not
necessarily aligned to a particular state of karma.
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4.2.3.5 Rule #5 Players want canonical sequels
The Falloutseries of games have never as yet created a direct sequel to any of their games.
The games are, however, based in the same canonical timeline. For example, Fallout: New
Vegas is set four years after the events in Fallout 3. They very rarely carry characters overfrom one game to the next, though some factions and
locations do appear in more than one title. By creating a
clean slate in every game for a player character, players are
not tied into events which may have been referenced
incorrectly or differ to how the player completed them in
older games.
4.2.3.6 Rule #6 Players dont want endings to be a
punishment
The endings that can be obtained in Fallout: New Vegas are largely dependent on the
faction the player is aligned with, as well as their state of karma. This is a change from
Fallout 3s very similar endings, that of which contained a few different lines of dialogue and
the character involved with stopping a disaster. In this sense, the endings are much
improved and offer unique dialogue based on the situation itself. However, the endings are
abrupt and involve a line or two from someone in charge of the faction you are following,
before being taken to the credits. You are also unable to
continue your game from after this point, but rather have
to make use of your previous save, so you cannot complete
quests regardless of your character being alive and well.
While the endings arent intended to be a punishment,
little thought into their implementation can make it that
way regardless.
4.2.3.7 Rule #7 Players shouldnt have to play more than
three times to obtain the full narrative
The narrative itself is generally pretty static, and will feature similar, if not the same
dialogue between playthroughs. This is of course not the case when concerning dialoguechoices that are morally bound. Each of these decisions contains different dialogue to match
the decision taken and potentially the characters
alignment too. Decisions will always have a maximum of
three different options to match the karma system, so
providing the player explored all of the side quests on each
of the three playthroughs, all of the narrative can be
obtained.
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4.2.3.8 Rule #8 Players dont want moral choices just
because there is a moral system
While the decisions are of course encouraged to bare
karmic consequences, the neutral decision serves as ananswer to a situation that doesnt need to be given a
good or evil answer. If players wished for it, they could
play the entire game without shifting karma by just
following the neutral paths. They are never forced into
being good or evil, with the decision being completely
up to themselves.
4.2.3.9 Rule #9 Players shouldnt have to considerably
change their play style
There are no time constraints or large hurdles to jump over to obtain collectibles; with
everything in realistic and sensible placements. Fallout: New Vegas allows the player to
explore as they would in such a situation, so massive
changes are unrealistic. The games hardcore mode does
indeed involve large changes in play style, but it is simply
an option and bears no narrative differences besides
what can be drawn by the player. Changing alignment
doesnt involve much change other than in who you
would realistically side with or fight against, and weaponsare very similar to each other.
4.2.3.10 Rule #10 Players should not have a greater
reward for a particular moral choice
While there are no direct instances of being given greater rewards based on karma, items
can be obtained easier while playing as an evil character. Theft bypasses a lot of the
limitations placed on obtaining strong items earlier, and providing you can perform such an
act without being caught, this could be considered an
advantage. However, doing this in front of the owner is a
difficult task early in the game, plus being good can also
net you discounts in these very stores. The benefits and
downsides seem to work well together, offering neither
side a distinct advantage.
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4.3 Atelier Rorona: Alchemist of Arland (2009)
4.3.1 Game Synopsis
Rorona is a fledgling apprentice alchemist, ajob that she takes very seriously even
though she isnt very good at it. Her
masters business isnt doing very well, and
they are eventually visited by a knight, who
brings them the grave news that the shop
will have to close. They manage to
compromise by promising to complete
particular assignments over a three year
period, with Rorona becoming the master
alchemist during this period.
4.3.2 Why this game?
Atelier Rorona is a modern example of a
pure RPG, which unlike Fallout: New Vegas,
it does not stray far from its primary genre.
It is also a Japanese developed game, so
similarities between this game and visual
novels are also apparent.
4.3.3 Analysing against the ten rules
4.3.3.1 Rule #1 Players want their gameplay unrestricted
Atelier Roronas mission structure is such that there is little room to venture from the quests
presented to you. You get the choice of which characters you take with you on your travels,
which can also result in new dialogue options, but there is not a lot that the game allows
you to change. This is largely because you are playing as Rorona, a pre-established
character, rather than creating your own character and making their story. Still, it can bedone, as shown in games such asAlpha Protocol (2010) which allow a moderate amount of
gameplay decisions as well as being good or evil, while
still following one pre-established character.
[1] Tim (2010) Atelier Rorona [Online] Available at:http://www.gamers-lobby.com/images/atelier-rorona-21487942.jpg [Accessed 18 April 2011]
[1]
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4.3.3.2 Rule #2 Players want to feel the effect of their
decision
Decisions are largely dialogue based and affect the opinions other characters have of you,
rather than the world at large. They largely affect the ending of the game that you receivebased on the amount of characters or a particular character liking you enough. While the
decision making is indeed playing a role in changing the way that the game ends, it is not
apparent until nearer the end of the game what effect they have. The decision making
draws many similarities to Japanese visual novel games,
where the goal for many of them is to make friends (or fall
in love) with a variety of characters. While boosting
friendships is very much a Japanese game mechanic,
Western players may not like the way it doesnt visibly alter
the game until the very end.
4.3.3.3 Rule #3 Players want the option to change a
decision
While the decisions certainly do not carry as much weight as those found in RPGs like
Fallout, the option to alter a decision may be required by players who are searching for
particular endings or dialogue. The similar is nigh on
identical to that from Fallout: New Vegas, in which you can
make multiple saves only to the limit of the hard drive.
However, saving can only be done in a particular place (thealchemist shop) and so it can be difficult to make saves
before and after decisions and branches.
4.3.3.4 Rule #4 Players want a different experience when
playing a second time
While the main crux of the story such as the quests and the characters you meet will be the
same regardless of how many times you play it, you can pursue different friendships or
teams to take on your adventure. It is enough to warrant a second playthrough with
alternate dialogue via selection of different branching
narratives, but the changes are solely story related and will
not prolong gameplay. For the players that arent a fan of
the decision system and lack of immediate consequence, a
second playthrough may be largely unsuitable.
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4.3.3.5 Rule #5 Players want canonical sequels
Due to the less than impactful style decisions, there wouldnt be much cause for concern
considering Roronas character, or depiction of past events, in a sequel. A direct sequel was
released under the nameAtelier Totori: Alchemist of Arland 2 (2010), and while Rorona doesindeed feature in the game, she is replaced by Totori as the
main character. This enables the developers to careful
choose which of the past events to depict when concerning
decisions, if any at all. Narrative branches chosen in the first
game will be unaffected either directly or indirectly via
referencing because of this.
4.3.3.6 Rule #6 Players dont want endings to be a
punishment
Atelier Rorona has over thirty different endings to obtain, though you can only obtain one
per playthrough. Because it is possible to meet the criteria for more than one ending in one
playthrough, the game ranks particular endings above others. This means that missing out
on one condition for an ending will drop you to the ending below it and so on. This also
means that if you meet the conditions for the top ending (known as Astrids ending), you
cannot obtain the ending ranked below it. This means that
players will have to deliberately avoid meeting certain
requirements in order to get the required ending. While the
endings themselves do not punish the player for doing bad,
the player may end up with the wrong ending because they
are playing too well.
4.3.3.7 Rule #7 Players shouldnt have to play more than
three times to obtain the full narrative
As mentioned previously, there are upwards of thirty different endings that can only be
obtained in individual playthroughs. A lot of these are in fact specific to particular characters
met within the game, rather than to do with overarching story. While this means that
obtaining one ending over another means you will only lose particular information on onecharacter or event, it is still a lot to ask to have players
complete the game so many times. A good example of how
to do this correctly exists in Star Ocean: The Last Hope.
Endings are given per character, yet if the correct conditions
are met you can potentially obtain them all in the same
playthrough.
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4.3.3.8 Rule #8 Players dont want moral choices just
because there is a moral system
Atelier Rorona does not have a moral choice system in
place, mainly due to you playing as a pre-established goodcharacter. The choices that do exist in the game are not
reflective of moral choices either, so its difficult to
compare. Such a system would certainly not work well in a
game like this, so it is worth mentioning that it is good that
such a system does not exist.
4.3.3.9 Rule #9 Players shouldnt have to considerably
change their play style
Again, with decision making coming in the form of making friendships and helping those
around the game, there is no way to change playing style.
The full narrative can be collected by simply playing and
collecting the many endings. While many players will likely
begin to rush the quests, or at least focus on the main ones
when they are trying to obtain all of the endings, there is no
pressure from the game to have to finish it quickly for extra
dialogue or endings.
4.3.3.10 Rule #10 Players should not have a greaterreward for a particular moral choice
While there is not a moral choice system in the game, there are rewards given based on
responses to particular decisions. This usually results in increasing the relationship Rorona
has with a particular character or not, dependant on choosing the correct option. There are
also split choices that will raise one character or another
based on the response, so it is possible to lose out on
progress with a character in particular. These changes are
cumulative and not determined absolutely by one choice, so
picking one option over another does not offer you less of a
reward based on which character you become friendlier
with.
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4.4 Mass Effect (2007)
4.4.1 Game Synopsis
Commander Shepherd has just become thefirst human being to be admitted into the
exclusive spectre program, an extremely
high honour. He must take and complete
missions using whatever means necessary
while appeasing those on the council, thus
making a name for humankind as a whole.
A fight ensues against the mysterious
reapers, beings that were long thought
extinct, and you must help protect the
galaxy against them.
4.4.2 Why this game?
Mass Effectcan be looked at as a contrast
to Fallout: New Vegas, being a primary
shooter with RPG elements. Bioware are
also famous for their conversation and
karma mechanics, making it an idea game
to test.
4.4.3 Analysing against the ten rules
4.4.3.1 Rule #1 Players want their gameplay unrestricted
While players are certainly tied into following the missions they are given by the council,
there is a lot of leeway in how gameplay can progress. Players can explore different planets
nigh on whenever they like, as well as also having the option of finishing any mission in a
karmic good or bad fashion. Romantic interests can also be pursue
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