#nfsmost wanted

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BLOG 10: Stories-Briefing, Narrative Theory

I'm about to embark on a nostalgic journey to revisit my childhood favourites, NFS: Most Wanted and Farm Frenzy 2, and analyse them through the lens of narratology and ludology. Throughout this exploration, I will focus on the personal experience, examining the interplay between games, narrative, and environment.

Let's examine the concepts of narratology and ludology in the context of two games: Need for Speed: Most Wanted (NFS: Most Wanted) and Farm Frenzy 2.

Need for Speed: Most Wanted:

Narratology: In NFS: Most Wanted, I'm engaged in narratological elements that are perfectly blended into the well-crafted story. The game introduces me to a narrative structure in which I, as a player, step into the shoes of an outlaw street racer seeking to rise through the ranks of the Blacklist. Engaging cutscenes, compelling conversation, and complex character interactions all contribute to my overall enjoyment of the story. As I traverse the world of illegal street racing, these narrative aspects act as guiding threads, adding to the overall richness of my rise through the ranks.

Ludology: From a ludological perspective, NFS: Most Wanted immerses me in dynamic gameplay. The focus is on high-speed racing, pursuits, and exploration. Game mechanics, rules, and player interactions shape the thrilling and engaging experience. The essence lies in the excitement derived from the heart-pounding racing encounters in the open-world environment.

Farm Frenzy 2:

Narratology:

In Farm Frenzy 2, narratology takes a back seat. The levels offer contextual info, but a continuous narrative is absent. The focus is on player decisions, time management, and efficient farm operation, enhancing gameplay enjoyment. The focus is on gameplay rather than a central storyline.

Ludology:

In Farm Frenzy 2, the gameplay steals the spotlight. Players tackle problems using key aspects such as time management and resource allocation while actively caring for animals, planting crops, and processing products. The game's appeal lies in the rewarding experience, testing management skills and farm efficiency.

Games and Narrative: A Continuum or Opposing Elements?

If we look at both examples, we can illustrate the diverse ways in which games integrate narrative and interactivity. Juul (2001) argues that games and stories don't translate directly, asserting an inherent conflict between the interactive present and the narrative past. NFS: Most Wanted challenges this by seamlessly blending narratology and ludology, demonstrating a harmonious coexistence (Juul, 2001). In contrast, Farm Frenzy 2 leans towards ludology, emphasizing gameplay mechanics over a detailed narrative (Juul, 2001). This supports Juul's thesis that continually interactive storytelling may not be practical.

Narrative and Environment

Qin, Rau, and Salvendy (2009) emphasise the importance of game environments, noting that games must create immersive worlds to encourage player engagement. The popularity of NFS: Most Wanted is evidence of this, as the story enhances the virtual environment and raises player engagement and immersion (Qin, Rau, & Salvendy, 2009).

The continuum of games and narrative preferences is underscored by Qin et al. (2009), who argue that the interplay between story and environment shapes the gaming experience. NFS: Most Wanted strikes a balance, whereas Farm Frenzy 2 leans more towards environment-centric ludology.

Let's analyze three path structures in interactive narratives—The Complete Graph, The Network, and The Tree, discussed by Ryan (2003). We'll apply these to the games we explored earlier, NFS: Most Wanted and Farm Frenzy 2.

Need for Speed: Most Wanted

In this game the path structure aligns more closely with a combination of the Network and the Tree structures.

The Network: In NFS: Most Wanted, I explore an open world filled with races and pursuits. The city acts as a network of possibilities, enabling diverse activities. While not every element is directly linked, a network of choices enhances the overall gaming experience.

The Tree: As I progress through the game, I see a tree-like structure, particularly while moving forward through the Blacklist. Beginning with the basic goal of gaining the ranks, each Blacklist member serves as a branching point. Defeating opponents propels me through the tree's branches, leading me to my ultimate goal of becoming the most wanted street racer.

Farm Frenzy 2

As a time management and simulation game with a level-based structure, it aligns more closely with interactive narratives' "Tree" path structure. 

The Tree Structure:  Linear Level Progression: level growth is mainly linear, with options accessible inside each level. Successfully completing one level unlocks the next, creating an organised journey similar to going along a tree's branches.

As I progress through each level, I see a branching structure of tasks. Here, I may choose where to focus, whether it's breeding specific animals, farming specific crops, or investing in specific updates. These options provide a set of duties within each level, allowing for a more unique and diverse gameplay experience.

In this exploration, NFS: Most Wanted shows how a flawless relationship between narrative and gameplay is the essence of a great game. Farm Frenzy 2, which focuses on gameplay, challenges this standard, hinting at a variety of gaming preferences. NFS: Most Wanted's expert combination of story and setting highlights the subtle interplay between games, narrative, and environment, resulting in engaging experiences. Examining the interactive narrative structures, NFS: Most Wanted's blend of Network and Tree features provides a variety of options, but Farm Frenzy 2, which uses a linear Tree structure, unfolds a planned progression with a unique gameplay twist.

References:

Salen, K and Zimmerman, E. (2006) The Game Design Reader: A Rules of Play Anthology. London: MIT Press. 

 Juul, J. (2001) ‘Games Telling stories?’ Game Studies the International Journal of Computer volume 1, issue 1 Game Research. 

Qin, H., Rau, P., Salvendy, G. (2009) Measuring Player Immersion in the Computer Game Narrative. In: Entertainment Computing - ICEC 2007. Springer Berlin Heidelberg

Ryan, Marie Laure, (2003). Narrative as Virtual Reality. The John Hopkins University Press. 

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