• AVIROOP ROY

- A Narrative Theory of games focuses on key factors like the differences between Ludology, the study of games and Narrativism, focused on narratology. These two have been portrayed as two sides of the same coin. One trying to make a hybrid between game-story genre, and the other only focused on the conflicting nature of games having the capacity to tell stories. The definition of narrative in itself is outdated and needs an overhaul to include game narrative. Hence, the coining of the term Ludo-narrative wherein a games narrative is divided into four basic building blocks: World, Objects, Characters and Events. The variable existences of which creates a ludo - narrative. Traditional forms of theory should not be applied to games as it only hinders the breadth of content games provide. The application of narrative theory, though necessary is not enough to understand games.

- Games and narrative focus on how games are being judged through the lens of books and movies. Using the same methods to judge movies and games cannot provide accurate answers. Judging an interactive form of media through the lens of a non – interactive media is the biggest fault the gaming industry critiques are facing. The writer then goes on the describe different types of narrative and storytelling. How they are tackled in movies VS games.

- Janet H.Murray, a professor at the Georgia Institute of Technology has a distinguished pedigree in the analysis of the different forms of narrative. Hamlet on the Holodeck is one of her prominent works focusing on the future of Narrative in Cyberspace, a.k.a. the digital medium. Since the digital medium is at its infancy in comparison to the timeless classical paperback approach, Murray focuses on the unpalatable social scrutiny the digital medium is subject to. Chapter 2 - This chapter specifically focuses on forerunners responsible for ushering in the age of the Holodeck. Murray refers to a multitude of different books and stories revolving around the evolution of narrative storytelling. She focuses on highlighting different channels trying to push the boundaries of traditional, two - dimensional linear storytelling. She provides an articulate depiction of how the world is slowly but surely moving towards an interactive future. After reading the entirety of the book, I have come to two conclusions. The first being, the world is moving more and more towards interactivity and choice-based decisions. The potency of third person storytelling has dwindled over the years. Presently, there are very few movies that aren’t comparable or inspired by its predecessors. The 20th century is well aware of the concept of multiple timelines and the prospect of branching possibilities. This particular awareness gives rise to the need to make one’s own path/story. Hence, the introduction of interactive stories which would lead the viewer on a journey of choice and self-inflicted conclusion. This is the onset of truly interactive media, I.e., games. And to make games, we need computers. Which have become the new pioneers of the evolution of digital narratives.

- The introduction of interactive audiences, has opened a world of possibilities in terms of interaction and experience. Realizing the realm of possibilities with the introduction of three-dimensional media and story webs forms the base of the video game world.