On Tuesday, after reading Henry Jenkins’ article Game Design as Narrative Architecture, we discussed how games don’t have to tell a story to make it playable or interesting, that games “can be an abstract, expressive, and experiential form” (Jenkins). We listed examples such as Fallout, Minecraft, and Sims, explaining all those games are a form of spatial storytelling, where the environment explains more of the story than the narrative or progression. In Fallout, we’re thrown right in the middle of a post-apocalyptic world, and it’s up to the players to explore and feel the atmosphere of the game in order to be immersed. This can even apply to our previous playthrough with The Beginner’s Guide, where the creator tells a story by combining a variety of his friend’s unfinished levels, ideas, and background info instead of an intrinsic feature.

After the discussion, we delved more into spatial storytelling in our playthrough with Half-Life 2 and Firewatch. In both games, we start off in the middle of a story with some hints on how we got there. In Half Life 2, our only objective was to meet up another character, with little to no introduction about who you are and why you’re doing it. While progressing, we see a form of regime, enforcers abusing civilians in jumpsuits, a large tower looming over rundown buildings, and cameras/robots everywhere. We also interact with a handful of characters, and through the interactions or their personality we get a feel of who’s a friend or foe.

Moving on to the next game Firewatch, the dialogue between characters and flashbacks were the focus to tell the story. It felt as if we’re jumping between three different story paths at the same time. One moment we’re reading through the main character’s past, next becomes a walk in the woods and driving, then at a tower talking to another character. Though it was confusing, a story can still be found there, and through more interactions we’re able to piece the beginning, figuring that the main character was struggling with a past relationship and has taken the job as a fire watcher.

In both games, without an introduction or any storytelling, we had to consider everything the game provides to get a feel of the theme and plot, letting the environment tell the story. This shows that if there was only one clear story in the overall narrative of a game, then there’s no need for exploring, multiple characters with unique dialogues, or offering choices. 

Works cited

Jenkins, Henry. “Game Design as Narrative Architecture.” Electronic Book Review, July 10, 2004.