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Although this definition is often cited by game scholars, Crawford also famously admitted that this cycle of input, process and output can describe a human’s interaction with a refrigerator as well as with a computer. Game designer and theorist Chris Crawford (2001) famously defined interaction as “a conversation: a cyclic process in which two actors alternately listen, think, and speak” (p. Keywords: videogames, choice, agency, interactivity, ethics, BioShock, The Walking Dead “If films offer voyeuristic pleasures, video games provide vicarious thrills.” - Bernstein, 2002 In the end, this article argues that true player agency lies not within pre-scripted videogame narratives, but in the players’ interpretations of the game text, in their engagement with fan communities, and in the exchanges that occur between fans and developers. While these games are enjoyable and critically acclaimed, they present the player with false choices and offer only an illusion of agency. In The Walking Dead, players are forced to make morally-heavy choices in a narrative shaped by branching and converging decision trees.
MASS MOTHER MURDERER CHOICE OF GAMES FREE
The developers of BioShock attempted to subvert notions of player agency by denying the player any meaningful control within a narrative that centralizes free will. This article uses two case studies to explore different ways in which game developers have connected player agency with issues of morality. While this illusion of agency is problematic, it allows developers and players alike to engage with questions of ethics and morality. Interactivity is a debatable concept which has been so over-applied as to be rendered meaningless, and the sense of agency that videogame players experience is illusory. This article examines and challenges the assumption that videogames are interactive experiences which allow users to exercise control and agency over their narratives. “This Action Will Have Consequences”: Interactivity and Player Agency by Sarah Stang Abstract