Unpacking the Art of Storytelling in Interactive Digital Spaces

The intersection of gaming and storytelling, often treated as a straightforward application of narrative principles to interactive media, is far more complex and nuanced than commonly perceived. This rich area of study has been illuminated by a special issue from the academic journal Arts, titled Gaming and the Arts of Storytelling, edited by Darshana Jayemanne. This collection deliberately employs the ambiguous terms 'gaming' and 'arts' to foster an expansive, interdisciplinary discourse, shifting focus from rigid definitions of 'videogames' and 'narrative' to the dynamic 'process and performance' inherent in digital storytelling.

Embracing Ambiguity and Interdisciplinarity

Jayemanne's editorial philosophy for this special issue was to intentionally move beyond the conventionally deployed term 'narrative' in scholarly discussions of games. By opting for 'storytelling' and the plural 'arts,' the aim was to encourage approaches that are 'orthogonal to—while mindful of—the existing discourses.' This strategic ambiguity has successfully drawn contributions from a diverse array of fields, including computer science, film studies, comics studies, cultural studies, and game studies. Such a broad remit underscores the transformative impact of contemporary gaming on how stories are not only told but also experienced and interpreted.

The Trellis and the Vine: Structuring Fictionality

One of the compelling contributions to this volume comes from Christopher Goetz, who introduces the 'trellis and vine' analogy. This framework elegantly conceptualizes the intricate relationship between a game's underlying rules (the 'trellis') and its fictional elements (the 'vine'). Goetz delves into psychological research and play theory to propose that rule-bound play and make-believe play operate in a 'bipolar and synergistic' fashion. This analogy yields four distinct schemes, each offering a unique lens through which to understand various play situations and the medium-specificity of videogames, highlighting how mechanics and narrative are interwoven rather than merely overlaid.

Remediation and the Evolving Gaze

Brendan Keogh and Darshana Jayemanne contribute a fascinating analysis through their exploration of the Alien films' remediation in videogames. Their central question, "what does it mean to look at the alien?" uncovers a profound shift in affective and storytelling functions across media. As they demonstrate, the alien, once an object of repulsion in cinema, becomes a focal point for the player's 'gun-player hybrid look' in first-person shooters. This evolution culminates in games like Alien: Isolation, where the alien's 'psychopathic serendipity' (a term coined by the game's AI designer) turns the tables, making players subject to the alien's gaze. This serves as a powerful illustration of how storytelling dynamics are radically transformed across different eras and interactive forms.

Broader Context: Beyond Traditional Narratology

The collection moves far beyond traditional narratology, engaging with diverse influences. Rory K. Summerley, for instance, explores approaches to game fiction derived from sources as unexpected as musicals and pornography, revealing unconventional narrative structures and player engagement methods. Fruzsina Pittner and Iain Donald delve into literary adaptations with 'Gaming the Heart of Darkness,' examining how classic texts find new life and meaning through interactive experiences. These varied studies collectively highlight how gaming challenges and expands our understanding of narrative, performance, and player agency.

Choice Poetics and Subversive Strategies

Innovation in interactive storytelling is further explored by Peter Mawhorter, Carmen Zegura, Alex Gray, Arnav Jhala, Michael Mateas, and Noah Wardrip-Fruin, who delve into 'Choice Poetics by Example.' Their work provides concrete illustrations of how player choices shape emergent narratives, moving beyond simplistic branching paths to more intricate and meaningful forms of player-driven storytelling. On another provocative note, Hans-Joachim Backe examines 'Subversive Ludo-Narrative Strategies in Wolfenstein II: The New Colossus,' showcasing how games can employ their unique interactive nature to deliver potent social and political commentary.

Intertextuality and Cultural Resonance

The special issue also makes significant strides in understanding intertextuality within gaming. Julian Novitz explores 'Expansion, Excess and the Uncanny' through the lens of Deadly Premonition and Twin Peaks, revealing how games draw upon and recontextualize elements from other media to create unique and resonant experiences. Carly A. Kocurek's piece, 'Walter Benjamin on the Video Screen: Storytelling and Game Narratives,' brings philosophical depth, applying Benjamin's theories to illuminate the distinct characteristics of storytelling in the digital age.

The Future of Interactive Storytelling

Collectively, Gaming and the Arts of Storytelling champions a multifaceted view of how stories unfold within digital interactive spaces. The emphasis on 'storytelling' over more restrictive 'narrative' highlights the active, performative, and often emergent nature of player engagement. This anthology serves as a critical resource for understanding the profound ways in which gaming is not merely consuming pre-written stories but actively participating in their creation and evolution, cementing its place as a formidable artistic and cultural medium.

The Ongoing Evolution

The diverse methodologies and analytical frameworks presented in this special issue underscore that the 'arts of storytelling' in gaming are still in a state of dynamic evolution. As games continue to integrate cutting-edge technology and explore new forms of interactivity, the boundaries of what constitutes a 'story' and how it can be experienced will undoubtedly continue to expand. This collection thoughtfully encourages scholars and practitioners alike to embrace this fluidity and continue pushing the creative and conceptual envelopes of interactive narrative.

Source Insight: This report was curated based on original coverage from tile.loc.gov.

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