ABSTRACT
People are justifiably amazed when they are exposed to contemporary RPGs such as Elder Scrolls IV: Oblivion.1 The diegetic realms of these games are astoundingly realized; one’s avatar can wander around for days having surprising interactions with random inhabitants of cities, towns, and wild places. Older computer RPGs such as Baldur’s Gate and Neverwinter Nights were vastly more linear, meaning that the progression of game-play was tightly circumscribed according to a narrative. First, the player had to help defend the town. Next, she killed all the orcs in the swamp. Then, she was sent to retrieve the amulet out of the spider-infested caves. Then, she had to bring the amulet to the wise man in the next town. Etc. Etc.
