The blog post "Standard Patterns in Choice-Based Games" identifies common narrative structures used in choice-driven interactive fiction. It categorizes these patterns into timed choices, gated content based on stats or inventory, branching paths with varying consequences, hubs with radiating storylines, and hidden information or states that influence outcomes. The post argues that these patterns, while useful, can become predictable and limit the potential of the medium if overused. It advocates for greater experimentation with non-linearity and player agency, suggesting ideas like procedurally generated content, emergent narrative, and exploring the impact of player choice on the world beyond immediate consequences.
The blog post "Standard Patterns in Choice-Based Games (2015)" by Emily Short explores common design patterns employed in interactive narratives, specifically those using a choice-based structure where the player progresses the story by selecting from presented options. Short argues that understanding these recurring structures can be beneficial for both authors creating these games and players engaging with them. Recognizing these patterns allows authors to deliberately utilize established techniques, potentially streamlining the development process and creating a more consistent player experience. For players, awareness of these patterns can enhance their understanding of the underlying mechanics driving the narrative, allowing for more strategic engagement with the choices presented.
The post identifies several key patterns, categorizing them for clarity. One prominent category revolves around gating, where access to content or specific outcomes is controlled by earlier choices, often involving acquiring items, skills, or relationships. These gates can function as prerequisites, locking off content until specific criteria are met, or as branching paths, diverting the narrative based on the player's accumulated state. This pattern can enhance replayability by incentivizing players to explore different paths on subsequent playthroughs to unlock previously inaccessible content.
Another significant category encompasses timers and counters. This refers to the implementation of hidden or explicit tracking mechanisms that influence the narrative's progression. A timer might represent a deadline the player must meet, while a counter could track the accumulation of resources or the development of a relationship. These mechanisms introduce a sense of urgency or consequence to player choices, as inaction or specific actions can increment or decrement these values, impacting future events. The post highlights how these mechanics can create a dynamic and evolving narrative landscape, even within the constraints of a choice-based system.
Short also discusses patterns related to character relationships and internal states. These patterns often involve tracking the player character's relationship with non-player characters (NPCs), influencing the availability of certain dialogue options, actions, or even entire plotlines. The internal state of the player character, including traits like personality, morality, or mental health, can also be tracked and influence the unfolding narrative in similar ways. This allows for a more personalized player experience, reflecting the consequences of choices on the player character's development and relationships.
The post further delves into hub and spoke structures, where the narrative revolves around a central location or concept (the hub) from which various self-contained storylines (the spokes) branch out. This allows players to explore different facets of the narrative world at their own pace, returning to the central hub to select new avenues for exploration. This structure offers flexibility in narrative design and can accommodate varying lengths and complexities of individual storylines.
Finally, Short touches upon the concept of nested patterns, where multiple patterns are combined or layered to create more intricate and nuanced narrative experiences. For example, a gated section of the narrative might itself contain timers and counters, adding complexity to the player's decision-making process. This demonstrates the potential for sophisticated and dynamic storytelling even within the seemingly simple framework of choice-based games.
By highlighting these patterns, the blog post provides a valuable framework for understanding the underlying design principles of choice-based games, fostering both greater appreciation for existing games and offering guidance for aspiring creators. It emphasizes that despite the apparent simplicity of choosing between predetermined options, the strategic deployment of these patterns can result in rich, engaging, and replayable interactive narratives.
Summary of Comments ( 53 )
https://news.ycombinator.com/item?id=42678647
HN users discuss various aspects of choice-based games, focusing on the tension between player agency and authorial intent. Some highlight the "illusion of choice," where options ultimately lead to similar outcomes, frustrating players seeking meaningful impact. Others argue for embracing this, suggesting that the emotional journey, not branching narratives, is key. The implementation of choice is debated, with some advocating for simple, clear options, while others find value in complex systems with hidden consequences, even if they add development complexity. The importance of replayability is also raised, with the suggestion that games should offer new perspectives and outcomes on subsequent playthroughs. Finally, the use of randomness and procedural generation is discussed as a way to enhance variety and replayability, but with the caveat that it must be carefully balanced to avoid feeling arbitrary.
The Hacker News post titled "Standard patterns in choice-based games (2015)" has generated a moderate number of comments, delving into various aspects of choice-based game design. While not an overwhelming discussion, several commenters offer interesting perspectives.
One compelling thread revolves around the tension between player agency and pre-authored narrative. A commenter argues that choice-based games often create an illusion of choice, where pre-determined outcomes are simply dressed up with different wording. They suggest that true player agency requires more dynamic systems, where choices have meaningful and lasting consequences that ripple through the narrative. This sparks a small debate, with others arguing that the enjoyment of choice-based games lies precisely in experiencing carefully crafted narratives, and that excessive player agency can lead to incoherent or unsatisfying stories. The discussion touches upon the inherent limitations of the format, and the different expectations players might bring to these types of games.
Another commenter highlights the importance of pacing and information control in choice-based games. They argue that effective games carefully reveal information to the player, creating suspense and a sense of discovery. Choices should feel meaningful not just in their immediate consequences, but also in how they shape the player's understanding of the game world and its underlying mysteries. This comment connects to the earlier discussion about player agency, suggesting that a sense of agency can be achieved through strategic information management, even within a pre-authored narrative.
A few commenters also discuss specific examples of choice-based games, both successful and unsuccessful, illustrating the points raised in the broader discussion. These examples range from classic text adventures to more modern visual novels, highlighting the evolution of the genre and the different design approaches employed.
While the discussion isn't exceptionally lengthy, it offers some insightful perspectives on the challenges and opportunities of choice-based game design, touching upon issues of narrative structure, player agency, and information control. The comments generally agree on the importance of carefully crafted narratives, while differing on the degree of player agency that is desirable or even achievable within the format.