Paradoxically, as in the case of my experience with Dynasty Warriors, the games are technically weaker because they are missing mid-level narrative. Even though I consider Diablo II to be a better game than the original Diablo, the original captured my imagination, and my playing time, far better than its technically superior sequel. Diablo II's storyline was so much more significant to the gameplay, the goal of the game was to finish and see what would happen next, whereas in the original, the gameplay itself was the goal. In Championship Manager, I would find myself wishing for more historical background, or announcers to describe what was happening. However, since I didn't have that context, I would invent it myself, murmuring in an English accent about the astounding turnaround at Aston Villa since I took over - my imagination was filling in the gaps to create a more fulfilling and personal experience.
Here, then, is a challenge for game designers: Don't give everything to the player. Take away parts, important parts, of your games. Take away the protagonist's speech telling squadmates what to do, so the player mutters orders and the squad moves from cover to cover.
But in order for these cards to be taken away without the house falling, there must be a strong foundation: the lower level. The player must receive consistent, strong feedback for every action taken. In Civilization, every possible choice is explained in detail. Specific information, such as the amount of production available from any piece of land, or the specific bonuses of any building choice, is readily available to the player. When the details of the lowest level are clear like this, frustrations and guesswork are eliminated, and the player's mental energy can be spent constructing a personal narrative within the game's setting, instead of a narrative about how the game isn't working right, doesn't make sense or is too difficult.
Having a strong overarching story at the highest level is equally important for mentally preparing players to create their own story. The game universe must be compelling enough for the player to want to fill in the gaps herself. The strongest universes are in the real world, which is why sports games or historical games have an instant advantage - we already know the characters, the styles and the music. Games with strong licenses have an intrinsic advantage, as well. We know Star Wars for its characters and styles, as much or even more than any historical game. A more fictional game can succeed, but the pump is primed more for historical or license games, because we as a player already want to be part of that universe, and do not require as much convincing.
In the end, the removal of the game's narration follows one of the oldest tenets of creative writing: "Show, don't tell." When the player is in a game that makes sense at the lowest level, and motivates her at the highest level, then she will tell their own story. Game designers who aspire to create games that become obsessions for their players can use these concepts as a guideline. Creating gaps, for the player to fill in with her own imagination, is the key to having a game they'll be telling stories about for a long time.
Rowan Kaiser is a freelance writer for The Escapist.
