When Stanley Came to a Set of Two Open Doors

The Impossibility of True Agency in Video Games and the Power of Illusion

Authors

  • Elizabeth Radko University of New Haven

DOI:

https://doi.org/10.5195/pur.2025.117

Keywords:

video games, choice, agency, ludology, narratology, video game development

Abstract

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.

Author Biography

Elizabeth Radko, University of New Haven

Elizabeth Radko holds a BA in English from the University of New Haven. She is currently studying to teach English as a second language in Cambridge's CELTA program.

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

2025-11-03

How to Cite

Radko, E. (2025). When Stanley Came to a Set of Two Open Doors: The Impossibility of True Agency in Video Games and the Power of Illusion. Pittsburgh Undergraduate Review, 4(2). https://doi.org/10.5195/pur.2025.117