Nonlinear gameplay

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Assassin's Creed is a video game that allows nonlinear gameplay.

A game with nonlinear gameplay presents players with challenges that can be completed in a number of different sequences. Whereas a more linear game will confront a player with a fixed sequence of challenges, a less linear game will allow greater player freedom. For example, a nonlinear game may permit multiple sequences to finish the game, a choice between paths to victory, or optional side-quests and subplots. Some games feature both linear and nonlinear elements, and some games offer a sandbox mode that allows players to explore the game environment independently from the game's main objectives.

A game that is noticeably nonlinear is sometimes described as open-ended or as a sandbox.[1][2][3][4] Nonlinear games are sometimes described as providing emergent gameplay.[4]

Contents

[edit] Classification

[edit] Branching storylines

Games that employ linear stories are those where the player cannot change the plot or ending of the story. Most games use linear stories, thus making the stories similar to those of other fiction. However, even in games with a linear story, players interact with the game world by performing many actions along the way.[5] Many games have offered premature endings should the player fail to meet a challenge, but these are usually interruptions in the player's overall experience rather than actual endings.[5] More recently, many games have offered multiple endings to increase the impact of dramatic moral choices throughout the game, although early examples of nonlinear gameplay exist, such as Chrono trigger or Fallout (video game).[5]

Still, some games have gone beyond small choices or special endings, offering a branching storyline that players may control at critical points in the game. Sometimes the player is given a choice of which branch of the plot to follow, while sometimes the path will be based on the player's success or failure at a specific challenge.[5] The effects of such decisions may not be immediate. Branches of the story may merge or split at different points in the game, but seldom allow backtracking. Some games even allow for different starting points, and one way this is done is through a character selection screen.[5].

Despite experimenting with several nonlinear storytelling mechanisms in the 1990s, the game industry has largely returned to the practice of linear storytelling. Linear stories cost less time and money to develop, since there is only one fixed sequence of events and no major decisions to keep track of. [5] For example, several games from the Wing Commander series offered a branching storyline,[6] but eventually they were abandoned as too expensive.[5] Nonlinear stories increase the chances for bugs or absurdities if they are not tested properly, although they do provide greater player freedom.[5] Some players have also responded negatively to branching stories because it is hard and tedious for them to experience the "full value" of all the game's content.[5] As a compromise between linear and branching stories, there are also games where stories split into branches and then fold back into a single storyline. In these stories, the plot will branch, but then converge upon some inevitable event. This is typically used in many graphic adventure games.[5]

A truly nonlinear story would be written entirely by the actions of the player, and thus remains a difficult design challenge.[7] As such, there is often no story in truly nonlinear games.[7]

[edit] Nonlinear Level design

A game level or world can be linear or nonlinear. In a game with linear levels, there is only one route that the player must take through the level. In games with nonlinear levels, players might have to revisit locations or choose from multiple paths to finish the level.

As with other game elements, linear level design is not absolute. While a nonlinear level can give the freedom to explore or backtrack, there can be a fixed sequence of challenges that a player must solve to complete the level. Even if a player must confront the challenges in a fixed sequence, they may be given the freedom to seek and identify these challenges without having them presented one after the other.

A more linear game requires a player to finish levels in a fixed sequence to win. The ability to skip, repeat, or choose between levels makes game less linear. Super Mario Bros. is an early example of this, where the player had access to warp zones that skipped many levels of the game.

When a level is sufficiently large and open-ended, it may be described as an open world,[8] or sandbox.[9][10] Though Grand Theft Auto III popularized the open world design in 2001 with its 3D environment, earlier games such as Metroid (1986) had already began using this form of level design in 2D.

[edit] Emergent narrative

Emergent narrative, where there is no pre-planned story structure, remains an experimental concept in game design and artificial intelligence. In games such as The Sims, a story may emerge from the actions of the player. But the player is given so much control that they are more creating a story than interacting with a story.[5] Emergent narrative would only partially be created by the player. Warren Spector, the designer of Deus Ex, has argued that emergent narrative lacks the emotional impact of linear storytelling.[11]

Left 4 Dead features a dynamic system for game dramatics, pacing, and difficulty called the Director. The way the Director works is called "Procedural narrative": instead of having a difficulty which increases to a constant level, the A.I. analyzes how the players fared in the game so far, and tries to add subsequent events that would give them a sense of narrative.[12].

[edit] Sandbox mode

In a game with a sandbox mode, a player may turn off or ignore game objectives or have unlimited access to items.[13] This can open up possibilities that were not intended by the game designer. A sandbox mode is an option in otherwise goal-oriented games, and should be distinguished from open-ended games with no objectives such as SimCity.[13]

[edit] See also

[edit] References

  1. ^ Kohler, Chris (2008-01-04). "Assassin's Creed And The Future Of Sandbox Games". Wired.com. http://blog.wired.com/games/2008/01/assassins-creed.html. Retrieved on 2008-04-29. 
  2. ^ Kohler, Chris (2007-11-23). "Review: Why Assassin's Creed Fails". http://blog.wired.com/games/2007/11/review-why-assa.html. Retrieved on 2008-04-29. 
  3. ^ "AOL News "Steal a glimpse inside 'Grand Theft Auto IV'"". AOL. http://news.aol.com/story/_a/steal-a-glimpse-inside-grand-theft-auto/n20080408071609990084. Retrieved on 2008-04-29. 
  4. ^ a b "Bill Money Interview About Deus Ex". DeusEx-Machina.com. http://www.deusex-machina.com/dxps2/interviews/interview1.asp. Retrieved on 2008-04-29. 
  5. ^ a b c d e f g h i j k Rollings, Andrew; Ernest Adams (2006). Fundamentals of Game Design. Prentice Hall. p. 194-204. http://wps.prenhall.com/bp_gamedev_1/54/14053/3597646.cw/index.html. 
  6. ^ The Designer's Notebook: How Many Endings Does a Game Need?
  7. ^ a b Sorens, Neil (2008-02-14). "Stories from the sandbox". Gamasutra. http://www.gamasutra.com/view/feature/3539/stories_from_the_sandbox.php. Retrieved on 2008-04-29. 
  8. ^ "Interview - Freelancer". CVG. http://www.computerandvideogames.com/article.php?id=88288. Retrieved on 2008-04-29. 
  9. ^ "Sierra unveils Prototype, not the first sandbox adventure". Joystiq. http://www.joystiq.com/2007/08/10/sierra-unveils-prototype-not-the-first-sandbox-adventure/. Retrieved on 2008-04-29. 
  10. ^ Plante, Chris (May 12, 2008). "Opinion: 'All The World's A Sandbox'" (HTML). Gamasutra. http://www.gamasutra.com/php-bin/news_index.php?story=18545. Retrieved on 2008-05-16. 
  11. ^ GDC 2004: Warren Spector Talks Games Narrative
  12. ^ Newell, Gabe (2008-11-21). "Gabe Newell Writes for Edge". edge-online.com. http://www.edge-online.com/blogs/gabe-newell-writes-edge. Retrieved on 2008-11-22. "The events are trying to give them a sense of narrative. We look at sequences of events and try to take what their actions are to generate new sequences. If they've been particularly challenged by one kind of creature then we can use that information to make decisions about how we use that creature in subsequent encounters. This is what makes procedural narrative more of a story-telling device than, say, a simple difficulty mechanism." 
  13. ^ a b Adams, Ernest (November 1, 2007). "50 Greatest Game Design Innovations" (HTML). Next Generation Magazine. http://www.next-gen.biz/index.php?option=com_content&task=view&id=7769&Itemid=2&limit=1&limitstart=1. Retrieved on 2008-04-29. 
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