Video Game Fictions: A Dual-Work View

Key insights

6 takeaways

01
Video games function as dual-layered entities consisting of a fixed design framework (the developer's structure) and a unique, resolved narrative (the player's playthrough).See it on page 16
02
Player agency acts as a directorial force that resolves the inherent incompleteness of a game's design, transforming abstract possibilities into a singular, concrete experience.See it on page 9
03
The game itself serves as a stable 'possibility structure' or structural prop, while the individual playthrough constitutes a distinct, realized work of fiction.See it on page 6
04
This dual-work framework allows for a clear analytical distinction between the developer’s original intent and the specific narrative outcomes generated by player choices.See it on page 16
05
The model provides a consistent theoretical foundation to explain the structural differences between linear and open-world game designs.See it on page 13
06
Distinguishing between the fixed content and the variable playthrough clarifies the divergent imaginative roles occupied by active players versus passive spectators.See it on page 14

Summary

Video games function as dual-layered fictional entities, comprising both a fixed design framework and a unique, resolved narrative. This perspective challenges the notion that player interaction fundamentally alters the underlying game design, asserting instead that the game exists as a stable, albeit incomplete, possibility structure. While designers establish the constraints and potential paths, the individual playthrough serves as a distinct work of fiction where player agency resolves narrative gaps. By treating these as separate ontological works, the framework clarifies how players navigate complex interactive environments without conflating the developer’s intent with the specific outcomes of their own choices.

This analytical model frames the player as a director who navigates inherent choice incompleteness to construct a coherent narrative. Because games are designed to be inherently open-ended, they require players to imagine potential paths before committing to specific actions. This process of resolution transforms the abstract possibilities provided by the software into a concrete, singular experience. Consequently, the distinction between the game as a structural prop and the playthrough as a realized narrative explains the fundamental differences between linear and open-world experiences, as well as the divergent imaginative roles occupied by active players versus passive spectators.

Ultimately, this dual-work view provides a robust theoretical foundation for understanding player agency across the broader gaming industry. By separating the fixed fictional content from the variable playthrough, it becomes possible to account for the structural diversity of modern titles while maintaining a clear definition of what constitutes a game’s core identity. This approach effectively resolves long-standing debates regarding the nature of interactive storytelling, positioning the playthrough as a legitimate, distinct fictional work that exists in tandem with the game’s original design.