Environmental Narrative Game

"Narrative-driven exploration games in which your interaction almost entirely consists of walking and experiencing a story unfold. No real puzzles, no combat: just a quiet, contemplative story."
Jimquisition's description of the genre

The late 2000s and early 2010s saw the emergence of a new sub-genre in adventure games, the so-called "environmental narrative game" genre. Realizing that adventure games in the past had almost exclusively tended to emphasize storytelling and art direction over gameplay, developers in this genre followed that principle to its Logical Extreme and removed virtually all gameplay and interactivity from their games in order to focus the player's attention on the story, visuals and experience. Games in the genre have also variously been referred to as "interactive fiction games" (not to be confused with text adventures), "interactive stories", "story exploration games" and "first-person experiences", among other labels. Detractors of the genre sometimes dismissively referred to these games as "walking simulators", although that term has since come to be used as a neutral descriptor of the genre by many critics, developers and fans. note 

So what exactly is an environmental narrative game? At its root, it's a 3D graphical adventure game which places an unusually heavy emphasis on narrative and exploring a physical space, while de-emphasizing conventional game mechanics and challenges. Often the only interactivity afforded to player in these games is the ability to walk around and explore the game's world, occasionally interacting with objects to advance the plot, with the story pieced together via audio logs, cutscenes and found documents.note  Expect also for the game to be very much about the physical space in which it takes place: Scenery Porn (often in a Beautiful Void, devoid of onscreen characters besides the player character) is commonplace.

The core element that sets them apart from other adventure games and other "traditional" video games is that they are focussed on delivering content to the player (typically narrative content, although not exclusively), and for this reason gameplay challenges tend to be trivial or absent altogether. For comparison, a traditional adventure game might feature a complex, elaborate Moon Logic Puzzle which the player must solve in order to advance the plot; in an environmental narrative game, the only "puzzle" impeding the player's progress might be "find the front door to the house".

These games are typically viewed from a first-person perspective (although occasional exceptions exist), and typically tend to be classified as art games. Games in this genre sit at one extreme of the Story-to-Gameplay Ratio chart. Due to their limited game mechanics and typically short playtimes, they are a prominent example of Minimalism in game design. See also the various Interactive Storytelling Tropes.

This genre has attracted a polarized reaction from the gaming press and from players, often to the point of Critical Dissonance. Several critics have praised the genre as an experimental new direction in game narrative and interactive storytelling, while others dispute whether they can even be considered video games at all and criticize them for their lack of interactivity.

Examples of environmental narrative games:

  • The Beginner's Guide, made by the creator of The Stanley Parable, involves a narrator guiding the player through a series of short games made by his friend "Coda".
  • Beyond Eyes is about a blind girl in search of her kitty. There are no enemies, nor any puzzles more complex than "bring object A to point B". It is perhaps one of the definite examples of the phrase "walking simulator" as nearly the entire gameplay consists of slow, cautious walking.
  • Several titles by The Chinese Room:
    • Dear Esther is probably the Trope Codifier for the genre: no interactivity besides the ability to walk around, copious Scenery Porn in a Beautiful Void devoid of life, and a literate, semi-random story told via audio narration and dense symbolism.
    • Everybody's Gone to the Rapture is considered a Spiritual Successor to Dear Esther, and features a similar presentation and approach. The gameplay consists of wandering around an abandoned village, occasionally interacting with objects in order to listen to audio logs and view cutscenes.
  • Corpse Of Discovery tells the story of a stranded Astronaut as he explores a strangely changing planet.
  • Fibrillation consists of several surrealistic landscapes the player can explore and walk through. Its gameplay has been compared to Dear Esther.
  • Firewatch is more of a hiking simulator, and expands the genre's formula slightly with an open world approach to your walking.
  • Gone Home is one of the most popular examples of the genre. The game consists of walking around a house and piecing together what happened to the player character's family via audio logs and found documents, occasionally solving trivial puzzles.
  • LSD: Dream Emulator could be seen as a very early example of the genre: there's little real gameplay, and all the player does is wander around a surreal, semi-randomized environment inspired by the developer's own dreams (and nightmares).
  • The Path could be considered an early example of the genre. It places a heavy emphasis on exploration and narrative (a retelling of "Little Red Riding Hood"), with little in the way of puzzles or challenges.
  • Proteus is a rare example of a game in the genre which doesn't emphasize narrative. It is essentially a video game installation piece, in which a player walks around a procedurally generated pixel-art island.
  • The Stanley Parable essentially consists of walking around an office environment, occasionally jumping or pressing buttons to advance the plot, with no real challenges to speak of. Unusually for the genre, the game features elaborate Story Branching in response to the player's decisions, as the game is a Deconstruction Game of various interactive fiction tropes and video game narrative. It is also one of the only examples of the genre that is popular even among typical detractors of it. Zero Punctuation described it as a Genre Deconstruction of the sub-genre.
  • The Park, a spinoff of The Secret World, adopts this approach to tell the story of a single mother, Lorraine, searching for her son Callum in an amusement park after operating hours.
  • Thirty Flights of Loving is similar to many games in the genre in terms of its limited mechanics and story focus. Unlike many examples, however, it employs non-linear storytelling and eschews spoken dialogue, in addition to a highly stylized visual aesthetic.
  • The Vanishing of Ethan Carter is very similar to Dear Esther: walking around in first person with copious Scenery Porn, with the main focus being the linear story. The game also features several puzzles more akin to a traditional adventure game.

Alternative Title(s): Walking Simulator, Environmental Narrative Games, First Person Experience