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1. Introduction

The aim of the review is to provide a general introduction for those who are interested in the design and use of computer games for adventures and storytelling. This review stems from an exploratory phase of research and concept development between Futurelab and Dr Judy Robertson, Glasgow Caledonian University and Dr Judith Good, University of Sussex on their project Adventure Author.

Adventure Author is a game-authoring prototype designed to support interactive storytelling skills through the use of game technologies. Originally conceived and developed by Dr Judy Robertson and Dr Judy Good with support from Futurelab and graphic artist Mick Lockwood, the game draws on traditional role-playing techniques, by moving away from first-person-shooter game formats by emphasising character, plot and dialogue.


2. Aim of the review

As the focus for first phase of the Adventure Author project was interactivity, character, plot and dialogue the current review provides:

• glossary of key terms
• definition of adventure games
• history of adventure games
• current theoretical debates
• embedding fictional structures within game design
• research on creating believable characters and plots within games
• review of current research on games for learning

• game play is primarily driven by a narrative through which the player moves as the game progresses
• other narrative-based art forms are heavily drawn on, such as film, novels and comic books
• the player generally controls the main character
• games are often based around quests or puzzles, which are solved through interaction with the game world and its objects - this is often integral to the game experience
• emphasis is on exploration, thought and problem-solving abilities over the fast reflexes of more action-styled games
• fundamental elements include:
  • game rules - defined by the author, the rules govern the operation and the functioning of objects and characters in the game world. Players may be made aware of the rules prior to the game or have to discover rules through play
  • game world - island, cave system, magic world and their relevant populations
  • plot - usually contains information about what happened prior to the player entering the game world and details of what they should expect in order to achieve the goal and complete the game. Typically the plot is full of dangers and can often be non-linear in that there may be several ways to successfully complete the game
  • theme - the underlying moral theme of the game. For example often in adventure games the player's quest involves restoring balance or harmony to the world
  • characters - both player and non-player characters (NCPs) tend to process certain traits or attributes (magic powers; special features, such facial scars etc; unique knowledge or history)
  • objects/items - have an important role and are usually collected and used by the player to solve problems. Often the player has to have a particular skill or knowledge in order to use them
  • text, graphics and sound - contemporary adventures involve a combination of text, graphics and sound, although this was not always the case (for a more detailed discussion of the genre's development, refer to section 4)
  • animation - adventure games often contain pre-programmed animation sequences which are embedded within the game world (especially characters' movements; properties of objects). They serve to enhance the game play and immerse the player in the story
  • user interface - the observable on-screen features which allow the user to communicate in a meaningful way with the computer via the selection of text, graphics, sound and animation.

• computer and player interaction driven by language, ie movement and interaction initiated solely by text
• early versions (eg Crowther and Don's Adventure) typically used a verb-noun parser to interact with the user. For example, 'release bird' or 'down steps'
• later versions (eg Infocom's Zork trilogy 1981; 1981b; 1982) used text parsers, which provided players with richer textual experiences because it understood full sentences and not just simple verb-noun relationships and added humour to the gaming experience. For example, the player might type in 'hit mailbox'. To this the game might respond 'I've known strange people, but fighting a small mailbox?'
• plot and character development and the player becoming part of the story central to the experience.

• The Hitchhiker's Guide to the Galaxy, Infocom (Adams and Meretzky 1984)