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Video Games and their Narrative Influence

American Public University System / American Military University

COMM300: Communications Research Skills

May 29th, 2022

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Video Games and their Narrative Influence

Video games have come a long way when it comes to development and application.

Though games based on mechanics, automata, or engineering, the realm of digital gaming – what

is commonly referred to as video games -- initially flourished and gained a foothold with the

founding of Atari Corporation in the 1970s (Williams, 2017). As technology advanced, video

games became more intricate. Games that once relied on placing building blocks in certain

patterns or blocking balls from getting past a vertical puck have given way to complex decision

making in a grand scale of world building.

Though narration itself is not rhetoric centered, video games can be a useful tool in

persuasive thought and action. Through a literature review, the following questions will be

addressed when relating narration to the realm of video games:

1. How do video games contribute to narrative/storytelling?

2. What effects or actions can video games contribute or influence in regards to societal

or political issues?

Videogames are limited to the constrictions of its developers. Even when given a choice

within a game, that choice is ultimately an illusion; pre-programmed. Certainly, these lines of

code can branch and create a different experience depending on those inputs, but one must

realize that the player is discovering a story that has already been written and is being told. The

creators are the narrators, and as with folktales, the same story can be varied depending on how it

is received and meaning is created, through that narrative pathway.

Folklore and myth were influential to a society’s culture, and it will be argued that video

games can harness that same appeal. It can be an effective medium in showcasing the current
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issues of the times, disparity in human rights issues, homogeny, and many other issues

(Hawreliak & Lemieux, 2020; Fisher, 1989).

It will be further argued that the added level of interaction versus watching a movie or

reading a book allows for deeper involvement and possible persuasion or assimilation of certain

social or cultural narrative. This will lend weight that video games are a valid and emerging form

of meaning making through storytelling (narrative), and are on par, if not superior, to other forms

of mass media.

THEORY: NARRATIVE PARADIGM

Several frameworks can, and have, been applied to video game studies, including

cognitive psychology and developmental theory (Fitzgerald & Groff, 2011), multimodal analysis

(MMDA) (Hawreliak & Lemieux, 2020), and moral development theory (MDT) (Boyan et al.,

2015) just to name a few. A relatively new field, novel explorations in theory and understanding

are being developed constantly.

The primary framework for this article will rely on Walter Fisher’s Narrative Paradigm in

that it fosters understanding of human discourse, decision making, and action through the

uniquely human celebration of storytelling (Fisher, 1989). Not only is narration a method of

creating stories, this theory emphasizes that the act of sharing them creates meaning. The method

of this communication may vary, and depending on that medium, the interpretation of the

narrative may be widely diverse, especially if controversial statements are involved (Gunraj et

al., 2011).

The narrative paradigm is not rhetoric, as Fisher strongly refutes to his critics in his 1989

‘Clarifying the Narrative Paradigm’ article; it “is the foundation on which a complete rhetoric
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needs to be built” (p. 55). It acts as a foundation of symbolic messages within the story, multiple

semiotic modes of the presentation/digestion of the media to then create a means for

interpretation of rhetoric messages (Hawreliak & Lemieux, 2020).

Persuasive experience can only be gained through the complete picture of what the game

has to offer: if a player only advances two hours into a fifty-hour estimated playtime, they are not

going to understand the rhetoric the narrative tries to disclose, yet they will still experience a

narrative groundwork of referents.

Media has the ability to create environments that facilitate a society’s values, norms,

attitudes and rules. Video games “generate a new communication scenario” (Martínez-Borda &

Lacasa, 2008, p. 4). In fact, it’s also been argued that video games have created a new form of

literacy that is learned. Literacy is more than reading and writing; and video games take it further

by utilizing not just multimodal semiotics, but also multiple interpretations depending on game

(re)play. (Martínez-Borda & Lacasa, 2008)

METHOD

A qualitative literature review of several articles will address the aforementioned

questions and hypothesis. The articles were chosen through utilizing an institutional database to

find articles relating to combinations of specific keywords: ‘video games’, ‘narrative theory’, and

‘social issues’.

Another method used, though much less involved, is close-playing: a method of playing

where the focus is on the game design and criticism instead of the narrative (Hawreliak &

Lemieux, 2020). This is employed by the author, who has had experience with both narrative and
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critical thought of several game examples further mentioned, but remains limited to personal

experience.

Though the articles addressed narrative as it relates to video games, many sources

branched out into other frameworks. They straddled a line between narrative theory, dramatism,

and ludology – which remains an open ended discussion as to how video games are, can be, or

even should be categorized (Domsch, 2013).

All have addressed the importance of the video game’s narrative and how it relates to

human values and ethics within day-to-day context (Martínez-Borda & Lacasa, 2008). They

speak to the importance of player involvement, and of choice, within the mechanics built within

the game. This paper does not go into the specific mechanics of player involvement yet many

developers do not distinguish gameplay mechanics and storytelling as two separate entities and

create planned, networking narrative elements around player input (Suter, 2021, p. 52).

Films – and some games – are just reflections of the experience of those who created

them. They exhibit a point of view that allows the player to think about and figure out what is

happening (Gunraj et al., 2011). In this manner, all stories are influenced by their storytellers.

This also reflects Fisher’s point about the narrative paradigm being an interpretation of worldly

aspects “occurring in time and shaped by history, culture, and character” (Fisher, 1989, p. 57).

Just as books are influenced by their authors; as paintings are by their artists, and as

music is by their composers, video games are influenced by their network of script writers,

concept artists, programmers and developers. They build narrative from their (collective) human

experiences.

David Cage, Director of Quantic Dream’s game Detroit: Become Human (2018),

remained adamant that the game did not portray any political ideation. With over 2,000 pages of
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script, 513 characters, 74,000 unique animations and more than 5 million lines of code (Parker,

2018), the game explored a political narrative of increasing reliance on technology and the quasi-

slavery of androids that start to show signs of sentient, artificial intelligence. It used quick-time

mechanics to prompt adrenaline responses from players and timed dialogue choices that may

circle around in later chapters to be revisited. Despite Cage’s denial, the timeframe of its release

paralleled sharply between the in-game android uprising for equal rights and autonomic

legitimacy and the real-world Black Lives Matter movement and did not go unnoticed by fans

(Schubert, 2021). This also shows that whatever inherent experience the creators may or may not

have consciously, may be interpreted by its target audiences differently depending on cultural

factors.

It has been said that gaming “is inherently a social and cultural enterprise (Garcia, 2018,

as cited in Hawreliak & Lemieux, 2020, p.728) which extends beyond the material game

(Abrams et al., 2017, as cited in Hawreliak & Lemieux, 2020). They have an ability to inspire, or

even persuade, people to examine mainstream norms and behaviors with a critical eye (Gunraj et

al., 2011). They do this by forcing the player to take certain linear actions through their narrative

or by programming consequences to certain choices made in a multiple-choice scenario.

A prime example of this would be through Bioware’s Mass Effect (2007) trilogy. The

game was novel in how choices from the first game had implications and consequences that

followed through the subsequent games. These decisions were usually difficult moral situations

(save a single companion, or allow an entire colony to perish) and relied on a ‘paragon’ or

‘renegade’ option, though it was more intricate than ‘good’ or ‘bad’. This was used purposefully

to elicit empathy from player-driven actions (Boyan et al., 2015).

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During a two-game case study with middle school students, Ross Fitzgerald and Jennifer

Groff (2011) examined if video games in the classroom enhanced moral/ethical development.

Though employed through the supervision of an instructor, the two games (Diplomacy (2016)

and Civilization IV: Colonization (2008)) seemingly proved that digital games could act as a

guide between complex thought and action, whether individually or in groups. They’ve deduced

that experimenting with gameplay objectives lead to better interpersonal negotiation stills and

can increase self-confidence. (Fitzgerald & Groff, 2011).

This leads to the positive assumption that a video game’s narrative may challenge the

players’ ethical codes: choose a route that follows one’s individual morality, or attempt to remain

‘in character’ for a specialized outcome.

DIVERSITY AND REPRESENTATION

Social issues vary depending on location and culture. A diverse society understands how

important representation is, especially in the media. The typical narrative of video games has

been overwhelmingly white, male, and heteronormative (Hawreliak & Lemieux, 2020). Female

representation was primarily based on the ‘male gaze’, giving examples such as the

oversexualized Laura Croft from Tomb Raider (2001) and Bayonetta from Bayonetta (2009).

As video games have begun to acknowledge their influence on the assumptions of

women, people of color, and other oppressive topics, they have started to employ ethical

representation. Female characters such as Aloy from Horizon: Zero Dawn (2017), or Clementine

from The Walking Dead (2012) are examples of non-sexualized female protagonists in which the

narrative does not revolve around a love story or ‘prince charming’.

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In another example, Blizzard’s CEO, Jeff Kaplan, notes how they implemented various

representations in the game Overwatch (2016). These included characters that had disabilities,

non-heteronormative sexualities, religious affiliation, and genders (Hawreliak & Lemieux,

2020). Though the game itself is a first-person shooter, the fast-paced gameplay is amplified by

outside narrative through published comics and short stories that further deepen their motivations

and lives. Without this narrative, there would be no connection, and the game would not be as

popular as it is compared to rival companies. These stories built a wider, diverse fan base who

feel recognized as individuals and its success opens the door for future game developers to

expand their own casts.

There are levels of varying success with representation. Cultural influence can only go so

far, and stereotypes are heavily referenced to create recognizable assets. Rockstar’s Grand Theft

Auto V (2013) makes a point to highlight and mock the negative aspects of capitalism, while

simultaneously placing the player in neighborhoods and locations that highlight poverty, gang

violence, and theft. They released an online campaign involving real-world money that

immediately backfired due to players employing the anti-capitalistic strategies the game’s main

campaign taught them. (Murphy, 2019)

LIMITATIONS

There are several limitations to this qualitative approach:

Video games are as diverse as the cultures they represent and are developed by. They are

fantastical and narrative is only as limited as the technology in which it can be presented. It can

be argued that not all video games are narrative in nature: does the pinball machine with artistic

representation of a space battle have less story than a jumping platformer puzzle game? Some are
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obvious, such as the games developed by Quantum Dream. Yet there is disparity in whether

those are true ‘games’ than ‘interactive experiences’, as there is little input from the player

character. Does this make it less of a game?

Many video games have hidden stories that are only revealed through lengthy gameplay

or puzzle solving. If the puzzles are too difficult, or the player does not have the skill to progress,

it can be argued that the underlying rhetoric would never be revealed.

This research also does not take into account those who are casual observers of

‘streamers’ who broadcast their gameplay, usually with their own narrative and explanation or

interpretation of the story as it unfolds. This leads into further questioning: how do those who do

not have the physical link to the gaming system comprehend the story compared to those who

make the mechanical inputs and final decisions? Do these viewers experience the narrative

similarly to television or cinema instead?

CONCLUSION

When someone plays a video game, there is a suspension of disbelief. Similar to the

concept of psychoanalysis in film, a mirror effect is attempted to identify with characters being

displayed (usually the protagonist). Players become a construct of the narrative playing out on

the screen; they take on the proxy of the character they control (Boyan et al., 2015) and are thus

influenced by that character’s relationships, actions, and events. “Basic story experience consists

of a continuous series of interactions among perceptions, emotions, cognitions, and action”

(Grodal, 2003, as cited in Martínez-Borda & Lacasa, 2008). Empathy further assists in creating a

driving force for social action, and this empathy is garnered through challenging and provocative

narrative that moves player action (Brecht, 1992, as cited in Martínez-Borda & Lacasa, 2008).
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This can connect into the concept of player agency in games: the thought of free will or

‘choice’ in a game’s narrative. If an impactful or important decision is made within a game that

has a high level of interactivity, the player will gain a higher feeling of agency, believing in the

idea that they are now part of the narrative. This manipulation mirrors cinema once again in how

it uses sentimental tradition to “foster sympathetic identification and emotional appeal”

(Schubert, 2021, p. 4).

Players can’t help but to become emotionally invested, especially if the game showcases

narrative that is personal. As Hawreliak & Lemieux wrote in their 2020 article detailing social

justice in video games; “watching the effects of poverty is one thing, experiencing it through an

interactive simulation in a video game is quite another.”

If previous experiments can show that video games affect ethical development in school-

level children, then it becomes no stretch of the imagination to believe that these interpretive

narratives can affect ethical or moral positions of adults (Fitzgerald & Groff, 2011).

Though not all games may fit under the concept of the narrative paradigm framework,

every game has a form of conceptual meaning placed within it, even if that meaning is a sense of

victory on a scoreboard. Additionally, the many references to similarity between video games

and cinema could start pulling in film related theory in future studies, especially for

‘blockbuster’ games. Understanding the empathetic, real-world effects a narrative can conjure in

its audience is important to being able to relay societal messages across a massive industry.
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References to Use

Bioware. (2007). Mass Effect (Version standard edition) [Xbox 360]. Alberta, Canada.

Blizzard Entertainment. (2016). Overwatch [Computer Software]. Irvine, CA.

Boyan, A., Grizzard, M., & Bowman, N. D. (2015). A massively moral game? Mass

Effect as a case study to understand the influence of players’ moral intuitions on adherence to

hero or antihero play styles. Journal of Gaming & Virtual Words, 7(1), 41-57.

[Link]

Core Design. (2001). Lara Croft: Tomb Raider [Computer Software]. Derby, United

Kingdom.

Domsch, S. (2013). Storyplaying: Agency and narrative in video games. De Gruyter, Inc.

Firaxis Games. (2008). Civilization IV: Colonization [Computer Software]. Baltimore,

MD.

Fisher, W. R. (1989). Clarifying the Narrative Paradigm. Communications Monographs

56, 55-58.

Fitzgerald, R., & Groff, J. (2011). Leveraging Digital Games for Moral Development in

Education: A Practitioner’s Reflection. In Gibson, D., & Schrier, K. (Eds.), Designing Games

for Ethics : Models, Techniques and Frameworks (pp. 235-251). IGI Global.

[Link]

Gunraj, A., Ruiz, S., & York, A. (2011). Power to the People: Anti-Oppressive Game

Design. In Gibson, D., & Schrier, K. (Eds), Designing Games for Ethics: Models, Techniques

and Frameworks (pp. 253–274). IGI Global. [Link]

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Hawreliak, J., & Lemieux, A. (2020). The semiotics of social justice: a multimodal

approach to examining social justice issues in videogames. Discourse: Studies in the Cultural

Politics of Education. 41(5), 723-739. [Link]

Martínez-Borda, R., Lacasa, P. (2008). Video Game Narratives: A “Walk-Through” of

Children’s Popular Culture and Formal Education. Revista electrónica de investigación

educativa, 10(1), 1–18.

Murphy, S. (2019). Grand Theft Auto V: Capitalistic Hyperreality in the Age of Cynical

Reason. In Kuhn, B., & Bhéreur-Lagounaris, A. (Eds.), Levelling up: the Cultural Impact of

Contemporary Videogames (pp. 151-158). BRILL.

Noowanda. (2016). Discovery [Computer Software].

Parker, L. (2018). David Cage, a videogame developer who finds power in Pathos.

Wired. Retrieved May 29, 2022, from [Link]

human/

PlatinumGames. (2009). Bayonetta [Computer Software]. Osaka, Japan.

Quantic Dream. (2018). Detroit: Become Human [Computer Software]. Paris, France.

Rockstar Games. (2013) Grand Theft Auto V [Computer Software]. Edinburgh, United

Kingdom.

Schubert, S. (2021). “Liberty for Androids!”: Player Choice, Politics, and Populism in

Detroit: Become Human. European journal of American studies 16(3), 1-18.

[Link]

Sony Interactive Entertainment America LLC. (2017) Horizon: zero dawn [Computer

Software]. Amsterdam.
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Suter, B. (2021). Narrative Patterns in Video Games; Narrative Mechanics and Its Rules

and Rule Sets. Narrative Mechanics Strategies and Meanings in Games and Real Life, (pp. 51-

58). [Link]

TellTale Games. (2012). The Walking Dead [Computer Software]. San Rafael, CA.

Williams, A. (2017). History of Digital Games: Developments in Art, Design and

Interaction (1st Ed.). CRC Press. [Link]