When Stanley Came to a Set of Two Open Doors
The Impossibility of True Agency in Video Games and the Power of Illusion
DOI:
https://doi.org/10.5195/pur.2025.117Keywords:
video games, choice, agency, ludology, narratology, video game developmentAbstract
In narrative-based video games, the player is given control over how the story is experienced and continued. However, this sense of control is based solely upon the illusion that true choice is present. Despite various production limitations that arise during game development, developers try to better anticipate the unpredictability of player desire when creating the choices within the narrative. However, the implementation of these choices and what types of choices players are asked to make varies greatly between games, as does the success with which they are implemented. As a result, there needs to be an examination of choice-based games and the theory of choice and narrative interaction to see how one can modify the strengths and weaknesses of these various forms of storytelling to provide players with that long-desired sense of purpose in gameplay. This will also provide developers with a much-needed guide on how to produce more successful narratives and thus more profitable games. Based on an analysis of different types of choice-based games, it was determined that the vignette style of storytelling and choice implementation was the best way to integrate meaningful choice into narrative games.
References
Abbott, H. Porter. The Cambridge Introduction to Narrative. 2nd ed. New York: Cambridge University Press, 2008.
Beeman, William O. “Humor.” Journal of Linguistic Anthropology 9, no. 1/2 (1999): 103–6. http://www.jstor.org/stable/43102438.
Brody, Jessica. Save the Cat! Writes a Novel: The Last Book On Novel Writing You'll Ever Need. New York: Clarkson Potter, 2018.
Caillois, Roger. Man, Play, and Games. Translated by Meyer Barash. Urbana: University of Illinois Press, 2001.
Caracciolo, Marco, and Karin Kukkonen. “Hitting the Wall? the Rhetorical Approach and the Role of Reader Response.” Style 52, no. 1-2 (2018): 45–50, https://doi.org/10.5325/style.52.1-2.0045 (Accessed 26 Apr. 2023).
Flanagan, Mary. Critical Play. Cambridge, MA: MIT Press, 2009.
Galloway, Alexander R. Gaming: Essays on Algorithmic Culture. Minneapolis, MN: University of Minnesota Press, 2006.
Haggis, Mata. “Creator’s Discussion of the Growing Focus on, and Potential of, Storytelling in Video Game Design.” Persona Studies 2, no. 1 (2016): 20–25. https://doi.org/10.21153/ps2016vol2no1art532 (Accessed 26 Apr. 2023).
Huizinga, Johan. Homo Ludens: A Study of the Play-Element in Culture. London, U.K.: Routledge, 1998.
Lavigne, Carlen. “Pressing X to Jason: Narrative, Gender, and Choice in Heavy Rain.” Studies in Popular Culture 41, no. 1 (2018): 15–36. https://www.jstor.org/stable/26582195 (Accessed 26 Apr. 2023).
Muriel, Daniel, and Garry Crawford. “Video Games and Agency in Contemporary Society.” Games and Culture 15, no. 2 (2018): 138–157. https://doi.org/10.1177/1555412017750448 (Accessed 26 Apr. 2023).
Presser, Lois. “Emotion, Narrative, and Transcendence” In Inside Story: How Narratives Drive Mass Harm. 1st ed. Berkeley: University of California Press, 2018. http://www.jstor.org/stable/10.1525/j.ctv3znx4s. 61-85.
Proulx, Travis. “The Feeling of the Absurd: Towards an Integrative Theory of Sense-Making,” Psychological Inquiry 20, no. 4 (2009): 230–34. http://www.jstor.org/stable/40646438.
Qin, Hua, et al. “Measuring Player Immersion in the Computer Game Narrative.” International Journal of Human-Computer Interaction 25, no. 2 (2009): 107–133. https://doi.org/10.1080/10447310802546732 (Accessed 26 Apr. 2023).
Robson, Jon, and Aaron Meskin. “Video Games as Self-Involving Interactive Fictions.” The Journal of Aesthetics and Art Criticism 74, no. 2 (2016): 165–177. https://doi.org/10.1111/jaac.12269 (Accessed 26 Apr. 2023).
Roine, Hanna-Riikka. “Computational Media and the Core Concepts of Narrative Theory.” Narrative 27, no. 3 (2019): 313–331. https://doi.org/10.1353/nar.2019.0018 (Accessed 26 Apr. 2023).
Ryan, Marie-Laure. “From Narrative Games to Playable Stories: Toward a Poetics of Interactive Narrative.” StoryWorlds: A Journal of Narrative Studies 1, no. 1 (2009): 43–59. https://doi.org/10.1353/stw.0.0003 (Accessed 26 Apr. 2023).
Thabet, Tamer. Video Game Narrative and Criticism: Playing the Story. Basingstoke, U.K.: Palgrave-Macmillan, 2015.
Tyndale, Eric, and Franklin Ramsoomair. “Keys to Successful Interactive Storytelling: A Study of the Booming ‘Choose-Your-Own-Adventure’ Video Game Industry.” i-Manager’s Journal of Educational Technology 13, no. 3 (2016) 28-34. https://doi.org/10.26634/jet.13.3.8318 (Accessed 26 Apr. 2023).
Şengün, Sercan. “Ludic Voyeurism and Passive Spectatorship in Gone Home and Other ‘Walking Simulators.’” Video Game Art Reader: Volume 1. Edited by Tiffany Funk. Amherst, MA: Amherst College Press, 2017. 30–42. http://www.jstor.org/stable/10.3998/mpub.12471115.7 (Accessed 26 Apr. 2023).
BioWare. Dragon Age: Origins – Ultimate Edition. Electronic Arts. Windows. 2010.
Capcom. Devil May Cry 3: Dante’s Awakening Special Edition. Capcom. PlayStation 2. 2006.
Crows Crows Crows. The Stanley Parable: Ultra Deluxe. Crows Crows Crows. Windows. 2022.
DigixArt. Road 96. DigixArt and Plug In Digital. Windows. 2021.
Dontnod Entertainment and Deck Nine. Life is Strange. Square Enix. PlayStation 4. 2015.
Galatic Café. The Stanley Parable. Galatic Café. Windows. 2013.
Game Grumps. Dream Daddy: A Daddy Dating Simulator. Game Grumps. Windows. 2017.
Larian Studios. Baldur’s Gate III. Larian Studios. Playstation 5. 2023.
Quantic Dream. Detroit: Become Human. Sony Interactive Entertainment. PlayStation 4. 2018.
Quantic Dream. Heavy Rain. Sony Computer Entertainment. PlayStation 4. 2016.
Supermassive Games. Until Dawn. Sony Computer Entertainment. PlayStation 4. 2015.
Team Salvato. Doki Doki Literature Club! Team Salvato. Windows. 2017.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 Elizabeth Radko

This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
- The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
- Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
- The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 International License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
- Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
- The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
- Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
- The Author represents and warrants that:
- the Work is the Author’s original work;
- the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
- the Work is not pending review or under consideration by another publisher;
- the Work has not previously been published;
- the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
- the Work contains no libel, invasion of privacy, or other unlawful matter.
- The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.
- The Author agrees to digitally sign the Publisher’s final formatted PDF version of the Work.
