Screenwriting and authorial control in narrative video games | Intellect Skip to content
1981
Volume 6, Issue 3
  • ISSN: 1759-7137
  • E-ISSN: 1759-7145

Abstract

Abstract

Film and television screenwriters who are accustomed to working in a linear, noninteractive mode of storytelling may find themselves struggling to communicate a coherent progression of plot, character and theme when tasked with providing multiple avenues for video game player narrative input. This may be especially problematic when writing single-player role-playing video games (RPGs), which have always permitted a certain co-authorial relationship between a game’s screenwriters and its players, due to the branching-path narrative complexity and performative or emergent gameplay possibilities that are hallmarks of the genre. Using a case study of the linear game, The Last of Us, in contrast to an analysis of the open-world role-playing games Fallout 3 and Mass Effect 3, I will examine reasons why a screenwriter may find himself or herself knowingly ceding narrative control to players due to reasons that relate to a player’s engagement with ideas of co-authorship.

Loading

Article metrics loading...

/content/journals/10.1386/josc.6.3.343_1
2015-09-01
2024-02-21
Loading full text...

Full text loading...

http://instance.metastore.ingenta.com/content/journals/10.1386/josc.6.3.343_1
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error