A Functional Perspective on Narrative in Computer Games - Wolf Maul

Does a computer game have to be cyberdrama in order to deliver compelling narrative?
When we assume Hamlet is the goal, are we not confining ourselves to preconceived notions of
what is commendable and valuable? The concern over the potential capacity for computer AI
to guide game characters and developments becomes a non-issue when we abandon the
requirements for both well-formed plots and complete player freedom. The question should be
how games deliver narrative rather than whether they meet an inapplicable standard of it.
The task then remains to put forward a definition of ‘narrative’ that fits the medium,
keeping in mind that concepts such as narrative structure, the role of the participant, and the
authority of the author – as well as the relationships between them - will need to be redefined.
In terms of these relationships, computer games - despite the fact that they are often
played alone by a single player – bear more resemblance to other forms participatory
entertainment (role playing games, for example) than they do to more passive media such as
books or films.
Central, then, to defining (and evaluating) narrative in computer games is an
understanding of the player experience. Observing how a person navigates through a game,
processing information and acting on it, should be the first step in developing a model for
analysis. Where the current literature fails is in providing a sufficient observation-based
explanation of the process of narrative creation within the framework of a game.
Methodology
To that end, I choose three representative games, played them, and recorded the process.
The games chosen were: The Longest Journey by Fun Com, written and produced by Ragnar
Tørnquest and released in 1999 (2000 in North America); Riven developed by Cyan, produced
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