History Main / SlidingScaleOfGameplayAndStoryIntegration

* '''Story''' is the type of interaction between player and video game where the game ''narrates'' a story[[note]]Not just the main plot, but also character arcs, themes, and setting exposition.[[/note]] to the player, and typically provide narrative context for the elements of the game. Traditionally, video games narrate via cutscenes and dialogues (even though [[DialogueTree interactive dialogue]] overlaps with gameplay).

* '''Story''' is the type of interaction between player and video game where the game ''narrates'' a story[[note]]Not just the main plot, but also character arcs, themes, and setting exposition.[[/note]] to provoke an emotional reaction in the player. Traditionally, video games narrate via cutscenes and dialogues (even though [[DialogueTree interactive dialogue]] overlaps with gameplay).

Another definition would be that the gameplay ultimately revolves around numbers and is governed by mathematical rules, while the story revolves around words and symbols and is governed by the rules of emotional narrative. Either way, it is virtually impossible for a video game [[NoPlotNoProblem not to have any story whatsoever]] (think ''VideoGame/{{Pong}}'' level of storylessness) and, even more so, any gameplay (though this depends on whether you count {{Kinetic Novel}}s as games), and these two aspects are usually integrated at least a little--after all, you can hardly put pony-breeding gameplay against the backdrop of a galaxy-spanning war story.

* The [[NoSidepathsNoExplorationNoFreedom utter linearity]] of the ''{{VideoGame/Half-Life}}'' series is a plot point, representing Gordon's lack of agency over the story, whether it's because of the G-Man, the Vortigaunts, or the player. Also, ''{{VideoGame/Half-Life 2}}'' and its Episodes begin with Gordon not at full health, due to him being injured from a scene in the previous game.
** On the other hand, when the G-Man is incapacitated by the Vortigaunts, finally allowing Gordon at least some temporary freedom...the game is still just as linear as ever.

* The [[NoSidepathsNoExplorationNoFreedom utter linearity]] of the ''{{VideoGame/Half-Life}}'' series is a plot point, representing Gordon's lack of agency over the story, whether it's because of the G-Man, the Vortigaunts, or the player. Also, ''{{VideoGame/Half-Life 2}}'' and its Episodes begin with Gordon not at full health, due to him being injured from a scene in the previous game.

** At one point in the game, the party is captured and stripped of all their equipment, being forced to stealth their way around until they recover their equipment and unable to even attack without weapons. Since Ayla [[BareFistedMonk doesn't use any weapons anyway]], though, she can just punch her way through any enemy encounters.

* The [[NoSidepathsNoExplorationNoFreedom utter linearity]] of the ''{{VideoGame/Half-Life}}'' series is a major plot point, representing Gordon's complete lack of control, whether it's because of the G-Man, the Vortigaunts, or the player. Also, ''{{VideoGame/Half-Life 2}}'' and its Episodes begin with Gordon not at full health, due to him being injured from a scene in the previous game.

This leads to situations where gameplay rules blatantly contradict the story rules--and such instances are usually easily identifiable and listed on GameplayAndStorySegregation page. But again, very, very few games segregate their gameplay from the story completely: there is usually overlap at least on the contextual or thematic level. Likewise, there are practically no video games where the gameplay and the story are integrated so tightly that they become indistinguishable, simply because the technology for procedurally generated narratives does not yet exist. It is thus more accurate to speak of individual ''instances'' of gameplay and story integration/segregation, as a single game can provide examples of both--therefore, "gameplay and story integration" is less of a dichotomy and more of a continuum, wherein games can be sorted depending on whether integration instances outnumber segregation instances or vice versa.

The [[TitleDrop Sliding Scale of Gameplay and Story Integration]] for games is then defined as follows:

* '''Gameplay''' is the type of interaction between the players and the video game where the players input commands to overcome ''challenges'' the game throws at them. Historically, most common type of gameplay is combat, but it also includes {{stealth|BasedGame}}, CharacterCustomization, etc., etc.

Video games (and games in general) are a unique storytelling medium in that they demand active participation by the audience (read: the player) in order to advance the narrative. Historically, however, the massive age gap between traditional, non-interactive storytelling and the rapidly evolving interactive medium gave rise to a dichotomy between pure gameplay and storytelling in gaming, which can be defined as follows:

** Having characters use the same abilities in cutscenes as they would in actual gameplay--better yet, have them only use said abilities to the extent that they have developed them in gameplay terms up to that point.

The [[TitleDrop Sliding Scale of Gameplay and Story Integration]] is then defined as follows:

* ''VideoGame/ChronoTrigger'': Setting aside the scene where it cleaves a cliff face in two, never to display that kind of power again, there are two battles where the Masamune displays power that it was said to have in cutscenes and dialogue. In the battle against Magus, the sword, which was said to be one of the few weapons that would allow them to defeat Magus, bypasses Magus's [[BarrierShiftBoss Barrier Shift]] trick ''and'' drops his magic defense stat. Later on, the team uses a red knife to drain Lavos' power out of the Mammon Machine. The red knife then turns into the Masamune. If you use the Masamune on the Mammon Machine when you fight it later, the sword bypasses its defense boost trick ''and'' heals Frog, by way of draining the energy from it, just like it did before.

* In ''VideoGame/BatmanArkhamAsylum'', every move that Batman does in cutscenes is available to him in actual gameplay--except the explosive gel-powered punch.

Video games (and games in general) are a unique storytelling medium in that they demand active participation by the audience (read: the player) in order to advance the narrative. Historically, however, the massive age gap between traditional, non-interactive storytelling and the rapidly evolving medium of interactivity gave rise to a dichotomy between pure gameplay and storytelling in gaming, which can be defined as follows:

Video games (and games in general) are a unique storytelling medium in that they demand active participation by the audience (read: the player) in order to advance the narrative. Historically, however, the massive age gap between traditional, non-interactive storytelling and the rapidly evolving medium interactivity gave rise to a dichotomy between pure gameplay and storytelling in gaming, which can be defined as follows:

* '''Natural Integration''': The vast majority of games falls in the bloated middle of the scale, where the gameplay and the story draw from separate convention pools but there is enough conceptual overlap for the player to [[WillingSuspensionOfDisbelief just ignore small internal inconsistencies]]. Because of it's so common, a list of games in this category would be way too long to be of any use.

The SlidingScaleOfGameplayAndStoryIntegration is then defined as follows:

** Individual enemy AI can be tweaked to reflect their personal agendas: e.g. an enemy may concentrate on a party member he considers his ArchNemesis and ignore everyone else, or, coversely, never directly attack a particular party member at all.

[[AC:Action Game]]
* Asura in ''VideoGame/AsurasWrath'' has several different [[SuperMode Super Modes]], and a heavily weakened 'armless' mode, all of which are triggered by storyline events. When you're attacked by an enemy immediately after [[BrokeYourArmPunchingOutCthulhu breaking your arms fighting a planet-sized enemy]], you have to fight using only kicks and headbuts. In a later, similar situation, you can't counter several normally-counterable attacks, because doing so would require, y'know, ARMS. Conversely, fighting someone who's seriously pissed you off is liable to make Asura break out his Six-Armed form for added asskicking... or even his [[TheBerserker Berserker Form]].

[[AC:Fighting Game]]

[[AC:First-Person Shooter]]

[[AC:Platform Game]]

[[AC:RPG -- Eastern]]

** Lucia's development of human emotions happens concurrently with her deveoping new tactics in battle. For example, after a plot point wherein she returns to Hiro because she misses him (though she doesn't understand that), she begins casting healing and protective spells on other characters, favoring Hiro, in fact. Prior to this plot point, she would only cast these spells on herself.

[[AC:RPG -- MMO]]

[[AC:RPG -- Western]]

** The RelationshipValues are the gameplay manifestation of a plot ability that the main character is revealed to have--namely, to subtly manipulate people that they're close to. As a consequence, the more influence you have with a party member, the more their alignment mirrors your own and vice-versa (with due consequences to bonuses/penalties to Light- and Dark-Sided Force powers). This actually veers into "story and story segregation" territory, since even if you turn a Light-Sided character to the Dark Side with your influence, he will still object to your Dark-Sided decisions and lose affection for you.

[[AC:Simulation Game]]

[[AC:Sports Game]]

[[AC:Stealth-Based Game]]

[[AC:Strategy -- Real-Time]]

* In ''VideoGame/CommandAndConquerRedAlert2'', the Allies use their Chronosphere to send a strike team directly to Moscow, bypassing the Soviet defences. You can then use it during the attack itself to bypass the local defences.

[[AC:Strategy -- Turn-Based]]

* The Potentials in ''VideoGame/ValkyriaChronicles'' tie in directly with the characters' stories, and more are opened as you learn more about the character. For example, Freesia starts out with one Potential called 'Desert Bred', marked by how she was raised and has lived in the desert areas for some time. After you learn a little more about her - that she's not used to living for anybody else and doesn't work well when people are counting on her - she gains the 'Under Pressure' Potential, cutting her defence and accuracy is she uses the last CP of your Phase.

[[AC:Survival Horror]]

[[AC:Visual Novel]]

[[AC:Other Games]]

[[AC:Non-Gaming Examples]]

[[AC:Action Game]]

[[AC:Action-Adventure]]

[[AC:Role-Playing Game]]

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