Shamus Young coins the term “domino worldbuilding” to refer to storytelling in which events are (sometimes surprising) consequences to each other, rather than just a bunch of things that happen to serve the needs of the plot. He provides the first Mass Effect’s backstory as a particularly good example and discusses the value of this approach in games.
Recently we took a look at the technique of option restriction, which is when a game presents the player with only one path forward, thus eliminating choice while maintaining agency. If it’s handled well, it allows for close management of narrative progression while still letting the player feel that they are in control. So what is it that determines whether it’s handled well? What allows the player’s sense of control to be maintained even with a lack of choice?
“Players like to feel in control, but this sensation doesn’t necessarily come from having the ability to choose. Having control is as simple as doing what you want to do. It’s possible for players to feel in control even if they don’t actually have the ability to choose, as long as the what the game asks and what the player wants aligns. A good narrative should foster this."
—Andrew Vanden Bossche, Would You Kindly? BioShock And Free Will
Whether you’re watching a DVD or playing a video game, you have control over the progression of the experience. You may hold a remote or you may hold a controller, but the action on the screen will start, stop, pause, and continue, in response to the buttons you press.
The fundamental difference is the degree of choice you hold. With a movie, you can only choose whether to proceed. With a game, you choose how to proceed. Even subtle or trivial decisions, such as on what path to move your character, or which weapon to use on enemies, or where to position the camera, engage you in the creation of your own experience.