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Physical Spaces and Temporal Plots: Narrative Techniques in Bioware’S Crpgs

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Physical Spaces and Temporal Plots: Narrative Techniques in Bioware’S Crpgs Physical Spaces and Temporal Plots: Narrative Techniques in Bioware’s CRPGs Ciaran McGrath A research Paper submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2013 I declare that the work described in this research Paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: Ciaran McGrath February 28, 2013 I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: Ciaran McGrath February 28, 2013 I would like to acknowledge the assistance of my supervisor, Marguerite Barry, in the development and completion of this research Paper. Summary This research paper seeks to explore the relationship between linear narratives and player agency within the context of computer roleplaying games (CRPGs). Specifically, the CRPGs chosen as case studies are three created by or related to the work of Bioware Corp.: Baldur’s Gate (1998), Planescape:Torment (1999) and Dragon Age: Origins (2009). The purpose behind choosing Bioware Corp. as a developer, and these games in particular, is that they provide a cross-section across a decade of development within the CRPG genre. From its position as a new developer of video games in 1998, Bioware had grown to an genre-leading position by the release of the most recent game studied. Thus this paper is also an examination of the reasons for this success. The methodology for the case studies is developed through a close examination of the literature relating to the role of narrative in games, the CRPG genre in particular and Bioware’s work within this genre. The resulting methodology draws primarily on Bioware’s own methodology of game design but also some proposed techniques within the scholarly literature. Each of the three games is examined in detail, with attention paid to the techniques the developer used to integrate narrative and gameplay. These techniques are considered in the areas of interface, exploration, development and challenge. The games are examined both individually and in the context of developments in the genre. Findings reveal how these techniques have evolved over time and demonstrate that conflicts between player agency and a pre-scripted narrative can be resolved through thoughtful design and integration of the two elements. These findings are discussed, and some suggestions for further research are provided. Table&of&Contents& Glossary(of(Abbreviations(..............................................................................................(1! Introduction(........................................................................................................................(2! Approaches(to(the(Study(of(Gaming(Narratives(......................................................(4! Narrative(versus(Games(...........................................................................................................(4! Role(of(Narrative(in(Games(......................................................................................................(5! Narrative(in(CRPGs(.....................................................................................................................(6! Bioware’s(Methods(.....................................................................................................................(7! Methodology(and(Case(Study(Selection(......................................................................(9! Why(Bioware?(...........................................................................................................................(10! Why(Baldur’s(Gate?(.................................................................................................................(10! Why(Planescape?(.....................................................................................................................(11! Why(Dragon(Age?(.....................................................................................................................(11! Baldur’s(Gate(.....................................................................................................................(13! Interface:(....................................................................................................................................(13! Exploration:(...............................................................................................................................(15! Development:(............................................................................................................................(16! Challenge:(...................................................................................................................................(17! Planescape:(Torment(.....................................................................................................(19! Interface:(....................................................................................................................................(19! Exploration:(...............................................................................................................................(20! Development:(............................................................................................................................(22! Challenge:(...................................................................................................................................(23! Dragon(Age:(Origins(........................................................................................................(25! Interface:(....................................................................................................................................(25! Exploration:(...............................................................................................................................(27! Development:(............................................................................................................................(28! Challenge:(...................................................................................................................................(29! Synthesis(............................................................................................................................(31! Interface:(....................................................................................................................................(31! Exploration:(...............................................................................................................................(32! Development:(............................................................................................................................(33! Challenge:(...................................................................................................................................(34! Conclusion(.........................................................................................................................(35! Further(Research(.....................................................................................................................(37! Bibliography(.....................................................................................................................(38! ! ! & Table&of&Illustrations& ! Figure 1 Baldur's Gate in play Figure 2 Baldur’s Gate World Map Figure 3 Planescape: Torment Title Screen Figure 4 Planescape: Torment Conversation Figure 5 Dragon Age: Origins Character Generation Figure 6 Dragon Age: Origins Lore Encyclopedia Figure 7 Baldur’s Gate Narrative Schematic (Simplified) Figure 8 Planescape: Torment Narrative Schematic (Simplified) Figure 9 Dragon Age: Origins Narrative Schematic (Simplified) Glossary&of&Abbreviations& Some of the terms used within this essay are explained below. RPG: Roleplaying game. A pen-and-paper collaborative storytelling experience, employing a set of rules to make decisions. CRPG: A computer RPG. Often, but not always, based on or influenced by pen-and- paper RPGs. Games master: In RPGs, the arbiter and storyteller responsible for running the game. In CRPGs, this part is taken by the computer. PC: Player character. The representative or avatar of a given player within the game world. NPC: Non-player character. A character not controlled by a player within the game. In pen-and-paper RPGs, controlled by the games master. In CRPGs, controlled by the computer. Companion: A specific class of NPC within CRPGs, denoting one who accompanies the PC through the game story. Also controlled by the player, to a degree. ! 1! ! Introduction All games have two authors: the game developer and the player. The developer establishes the rules by which the game is played, and the player exerts their own agency within these rules. The use of the term ‘narrative’ with regard to games is disputed and overly broad (Pearce, 2005), but all games can be said to have some form of narrative. The simplest, in such games as Tetris, can be expressed in a single sentence: “Stack falling blocks without leaving gaps.” The most complex can exceed the length of many novels. Whereas novels, films and television are suited to the presentation of linear narratives, games require engaged participants (Frasca, 2007). This requires a new consideration of narrative, but a strong narrative is not inherently detrimental to a game. The computer roleplaying game (CRPG) genre is one of the most story-centric genres of computer games, yet titles
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