Digital games deploy synchronic time, exclusively in the form of the present tense, which Tillich identifies as relating to kairos contingent on Heidegger’s notion of time. Contrary to the formulaic structure of mythology described by Joseph Campbell, digital games introduce a new dimension of time in narratives akin to biblical apocalypse.
Game narratives tend to deconstruct the conventional timeframes of chronological order seen in the narratives of traditional literature. This essay discusses distinctiveness in game narratives by citing diverse theories, including semiotics and theories of psychoanalysis, as well as mythology and theology. Amplification of gothic elements in contemporary media and in digital games reflects an ideological and aesthetic transformation of cultural products in contemporary society.
The second contribution is guided by the following research question: Is it possible to incorporate non-determinism into the narrative structure of computer games? The hypothesis offered is that non-determinism can be incorporated by means of nonlinear dynamical systems in general and Cellular Automata in particular.ĭigital games propagate mythical stories and revitalize medieval legends. While many studies have observed the storytelling aspect, no attempt has been made to systematically distinguish among the different ways designers decide how stories are told in games. In order to look for ways to generate a non-deterministic narrative in games, it is necessary to first gain a clear understanding of the current narrative structures implemented and how their impact on users’ experiencing of the story. The first contribution comes in the form of a clear categorization of the narrative structures embracing all video game production since the inception of the medium. Two major contributions are offered through this research. This study looks beyond this limitation, and identifies the elements needed for the emergence of a non-finite, emergent narrative structure.
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This implies that the story itself, seen as the series of events that will unfold during gameplay, is a closed system that can be predicted a priori. Even in their more experimental forms, the number of possible interactions between player and NPCs (non-player characters) and among NPCs and the game world has a finite number and is led by a deterministic system in which events can therefore be predicted. At the present time, computer games represent a finite interactive system.
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