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Friday, March 29, 2019

Gamebook Theory: Grave Mistake #4 (branching alone isn't enough)

As I promised in my previous post, this month we'll talk about branching in gamebooks and here is a very bold statement about that:

Branching creates choices, but choices alone don't create a game.

To better illustrate what I am trying to say, I will give you the following two examples:

Example 1:

1. You are at a crossroads. If you want to turn left, go to 2! If you prefer to turn right, go to paragraph 3!

2. You found a Magic Sword. Continue to paragraph 4!

3. You fall into a trap. Your adventure ends here.

4. Using your newly found Sword, you defeat the bad guy and you win fame and glory. The end.

Is this example interactive? Yes, it sure is, because there is a choice to be made.

Is the outcome a direct result of the reader's performance? No, it is not. The outcome here depends on pure chance, because the reader had no way of guessing which choice leads to death and which choice leads to cake. This is rather a "Which Door Choice". Note: see the gamebook choice classification by Ashton Saylor!

Do you see what is missing? There is no test of performance. The outcome depends entirely on luck.

Example 2:

1. The local Elder tells you that according to a centuries old legend, the Magic Sword could be found in the lands to the north. You leave the village and the beautiful sunset behind your back. Soon you are standing at a crossroads. If you want to turn left, go to 2! If you prefer to turn right, go to 3!

2. You continue walking to the north. A little bit later you find a Magic Sword. Turn to 4!

3. You continue walking to the south. A little bit later you fall into a trap. Game Over.

4. Using your newly found Sword, you defeat the bad guy and you win fame and glory. The end.

Do you see the difference? Do you see how we tested the reader's general knowledge, attention span, memory and logic?

a) General Knowledge: it is a well known fact that the sun always sets to the west.

b) Attention Span: the reader had to notice the clues buried in the text: the sun is setting behind his/her back.

c) Short Term Memory: the reader had to memorize the information from the village Elder and the fact that the Magic Sword is in the lands to the north.

d) Logic: if the sunset is behind the protagonist, then he is facing east and therefore must turn left (to the north).

Of course, we don't have to test all four in every choice. We could test just the memory by mentioning in the introduction that there is a Magic Sword in the lands to the north. A hundred paragraphs later we could ask the reader if he wants to go north or south. Actually, in this example, we would also be testing the attention, not only the memory, but you get the idea.

I was very surprised to find out that many authors complain that they come up with too many choices for a given situation and they have a hard time bringing the number down to acceptable levels. Imagine that in the example above at the crossroads, we ask the reader if he wants to 1. Climb the nearby tree; 2. Dig a hole in the ground; 3. Kill the ant crawling on his arm; 4. Break the crossroads sign; 5 Stare at the clouds.

Sure, all those are valid action possibilities, but what difference does any of those choices make in the grand scheme of things? Each one of those scenarios simply redirects the reader to a separate narrative line, but it makes no difference for the final outcome of the adventure. Those choices are irrelevant to the actual game part of the gamebook and should be removed from it. This is like the Chekhov's Gun Principle: "If in the first act you have hung a pistol on the wall, then in the following one it should be fired". Otherwise, it should have not been mentioned at all on the first place.

I have the exact opposite problem: I can't come up with many enough (at least 2 or ideally 3) meaningful options, because every single choice in a gamebook must make a difference one way or another (change of stats, finding an item, gaining valuable information and so on).

In conclusion, I am eager to remind you that unlike traditional literature, the goal of a gamebook isn't to surprise the reader unexpectedly at the end of the story. It is the exact opposite. A good gamebook author would lead the readers hand-in-hand through the MODERATE CHALLENGES of the game and HELP them achieve ultimate success at the end of the adventure.

Peter Agapov
Game Designer at
President and Chief Executive Officer of American Limo Naperville
Former Road Captain of Marine One at Operation "Welcome You Home"

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