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.
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https://news.ycombinator.com/item?id=43986424
Hacker News users discuss the Aeon essay's claim of narrative homogeneity in film and TV, largely agreeing with the premise. Several attribute this to risk aversion by studios prioritizing proven formulas and relying on algorithms and focus groups. Some argue this stifles creativity and leads to predictable, uninspired content, while others point to the cyclical nature of trends and the enduring appeal of archetypal stories. A compelling argument suggests the issue isn't plot similarity, but rather the presentation of those plots, citing a lack of stylistic diversity and over-reliance on familiar visual tropes. Another insightful comment notes the increasing influence of serialized storytelling, forcing writers into contrived plotlines to sustain long-running shows. A few dissenters argue the essay overstates the problem, highlighting the continued existence of diverse and innovative narratives, particularly in independent cinema.
The Hacker News post "Our Narrative Prison," linking to an Aeon essay about the perceived homogeneity of film and TV plots, has generated a robust discussion with a variety of viewpoints. Several commenters agree with the premise of the article, citing the prevalence of familiar tropes and predictable storylines. They discuss how risk aversion by studios, reliance on algorithms and data analysis, and the influence of streaming services contribute to this perceived stagnation. Some suggest this leads to a feedback loop where audience expectations become further entrenched, reinforcing the production of similar content.
A common thread among these comments is the idea that financial pressures and the perceived need to appeal to the widest possible audience push creators towards safe, established narratives. This focus on profitability over artistic innovation is seen as a key driver of the "narrative prison" described in the original article. The influence of streaming services, particularly their use of data to analyze viewer preferences, is also highlighted as potentially exacerbating this trend.
Several commenters offer alternative explanations, however. Some argue that the perception of sameness is exaggerated, and that a wider range of stories and genres is available than the article suggests. They point to the continued existence of independent films, foreign cinema, and niche genres as evidence of ongoing narrative diversity. Others suggest that the human brain is naturally drawn to familiar narratives and archetypes, and that the perceived homogeneity is simply a reflection of these inherent preferences. This perspective suggests the issue is less about a decline in creativity and more about the fundamental nature of storytelling itself.
Another point of discussion revolves around the cyclical nature of trends in popular culture. Some commenters argue that the current perceived stagnation is a temporary phase and that new and innovative forms of storytelling will inevitably emerge. They draw parallels to previous periods in film and television history, suggesting that creativity tends to ebb and flow.
Finally, a number of commenters discuss the role of audience expectations and the feedback loop it creates. They suggest that audience demand for familiar narratives reinforces the production of similar content, creating a self-perpetuating cycle. This raises the question of whether the "narrative prison" is imposed by studios and algorithms, or whether it is, at least in part, a reflection of audience preferences.
Overall, the comments on Hacker News present a multifaceted discussion of the issues raised in the Aeon essay. While there is agreement on the prevalence of certain narrative tropes, there is disagreement on the causes and implications of this phenomenon. The discussion highlights the complex interplay of creative forces, economic pressures, and audience expectations in shaping the landscape of contemporary film and television.