The game world can be more than just a game. World building is a never ending task. Every last detail can be scrutinized and in the end, it supports the overarching plot line that has a complex narrative structure. In a game like Bioshock Infinite, there is a diverse and beautiful world with museums, dialogue, and views that expand the world for the player, even if they don’t care for it. However, every small thing they take in has some effect on a player, which can be see in hidden morals or critiques on society. The background of Bioshock Infinite incorporates the corruptness of history within a government. The player might not notice it but it might embed itself so that when a person gets out of the game, they’ll hopefully make a connection between the game and reality. Now, for Bioshock, the corrupt government isn’t the main goal of the story. The goal is to find Elizabeth. 

However, games like Assassin’s Creed have a much heavier focus on corruption, which is seen more within the goals. In Assassin’s Creed Brotherhood, there are two story lines, one for Desmond and one for his descendent, Ezio Auditore. Both are fighting a corrupt legion, known as the templars, which the templars can represent not only the rich, but societal norms. Assassins are the robin hoods, fighting for the greater good. This is similar to the later games, where the assassins are pirates,which have a code of respect and equality. They are outlaws, but their reasonings are not corrupt like the law. World building and plot is more intertwined with social critique of wealth and the corruption that comes with it. Even though the utilization of world building presents the player with morals and concepts, a nonbeliever of games might not see it, due to their view of games as childish or violent in some way shape or form. However, it can be noted that games are as valuable and eye openings as literature.

From world building, a narrative is supported and broadened, which can have two different types. In Shira Chess’s article, they explain that one of these types, the queer narrative, which is story telling focused on the journey and not the climax, is beneficial and better for games. At times it appears as if most games could be classified as a heterosexual narrative, but its confusing. Most modern games like Assassin’s Creed have a climax, yet there are moments where you find many side quests and enjoyment in just sailing the seas or exploring vast cities in worlds you could only dream of visiting. I’d say many narratives are mixed and try to keep a balance between both because the only pleasure of a climax might be too boring for some players.

In general, world building gives a story more depth. A player can more thoroughly enjoy that plot and in turn, critiques of different topics can be brought to their attention. The narrative can determine how world building is advanced with more side quests or gameplay, while the climax could also be heavily focused, which leaves the player with less pleasure during the journey. However, both types can still be expressive and enjoyable with expanse worlds.

Works Cited

Payne, Matthew Thomas, and Nina Huntemann. How to Play Video Games. New York University Press, 2019.

Shira Chess (2016) The queer case of video games: orgasms, Heteronormativity, and video game narrative, Critical Studies in Media Communication, 33:1, 84-94, DOI: 10.1080/15295036.2015.1129066