Types of Stories in Games: Linear, Branching, Open-Ended, Instanced, Emergent, Thematic and Algorithmic

A game story is the sequence of events, characters and meaning that players experience while playing. Unlike a book or film, a game story can be shaped by the player’s actions. Designers usually describe seven primary types of stories in games: linear, branching, open-ended, instanced, emergent, thematic and algorithmic. Each gives a different balance between the writer’s control and the player’s freedom.

For story-building basics, see Story Development and Scriptwriting for Animation and Games and Story Arcs, Game Scripts and Storyboards for Interactive Games.

The seven types of stories in games

1. Linear stories

A linear story follows one fixed path from beginning to end, like a film. The player controls how they get through each part but not what happens. Linear stories are easier to write and produce, and they allow carefully crafted emotional moments. Many platformers and action-adventure games are linear.

2. Branching stories

A branching story offers choices that split the plot into different paths, often leading to different endings. Branching gives players agency but grows expensive quickly: three choices with three options each already create 27 routes. Writers often use a branch-and-bottleneck structure, where paths split and later rejoin at key events.

Tree diagram with boxes connected by arrows showing dialogue choices splitting into different paths
Figure 1 – An example dialogue tree between a player character and a villager. Each choice leads to a different line or path – the basic building block of branching stories. Image: Dcoetzee, CC0, via Wikimedia Commons.

3. Open-ended stories

An open-ended story gives players a world to explore and lets them decide what to do and in which order. There may be a main quest, but players can ignore it and follow side quests or their own goals. Open-world adventure and sandbox games use this approach.

4. Instanced stories

An instanced story (also called an instance) is a self-contained story episode that is created fresh for a player or group each time they enter it. In online games, a dungeon or mission might be an instance: your team gets its own copy of the quest, with its own beginning, middle and end, separate from other players.

5. Emergent stories

An emergent story is not written by the designer at all. It emerges from the interaction of the game’s systems and players’ actions. When players describe “the time my farm flooded just before the harvest festival and my neighbour saved the day”, they are telling an emergent story. Simulation and sandbox games are rich in emergent stories.

6. Thematic stories

A thematic story is carried by a theme, mood or idea rather than a detailed plot. Puzzle and abstract games often use thematic stories: the art, music and setting suggest loneliness, hope or friendship without much dialogue. The player builds the meaning from the atmosphere.

7. Algorithmic stories

An algorithmic story is generated by the computer using rules and random elements, a technique called procedural generation. The game might assemble quests, characters and events from building blocks so every play-through is different. Roguelike games and some strategy games use algorithmic storytelling.

Painted game scene of characters talking with dialogue options displayed at the bottom
Figure 2 – A conversation in The Banner Saga. Dialogue choices like these drive a branching story in which decisions have lasting consequences. Image: Stoic LLC, CC BY-SA 3.0, via Wikimedia Commons.

Differentiating the types

TypeWho controls the story?Replay valueCost to make
LinearWriterLow to mediumLowest
BranchingWriter, with player choicesHighHigh (many paths to write)
Open-endedPlayer chooses order and focusHighHigh (large world)
InstancedWriter, repeated per groupMediumMedium
EmergentGame systems + playerVery highDepends on systems, little writing
ThematicPlayer interprets the moodMediumLow to medium
AlgorithmicComputer rules + randomnessVery highHigh to design, cheap per story

Choosing a story type for your game

Start from the experience you want and the resources you have. A small student team with a short deadline will usually get the best result from a linear or thematic story, perhaps with one small branch near the end. If your game is built around systems – farming, cities, ecosystems – plan for emergent stories and give players ways to share them, such as screenshots or a journal. Many successful games mix types: a linear main quest inside an open-ended world, with emergent moments created by the systems.

This video from Curious Gamedev compares narrative types with clear game examples:

Example

Here is one idea – a young fisher saving her village from a storm – told as four types of story:

  • Linear: the player follows a set sequence: repair the boat, rescue the fisherman, light the lighthouse.
  • Branching: the player decides whether to stay and protect the village or sail out for help, leading to two different endings.
  • Emergent: the game simulates wind, waves and villagers’ needs; each storm plays out differently depending on what the player prepares.
  • Thematic: almost no words; the rising storm, fading colours and hopeful music tell a story about courage.

Exercise

  1. List the seven types of stories in games and give one example game (or invented idea) for each.
  2. Explain the difference between an emergent story and an algorithmic story.
  3. Draw a branch-and-bottleneck diagram for a short story with two choices and two endings.
  4. Retell an emergent story from a game you played (or a playground game). Why did it feel memorable even though no one wrote it?

Next: Characters and Environments in Games: Archetypes, Scale, Time of Day and Camera

Syllabus link: This post is relevant to the CAPE® Animation and Game Design Syllabus, Unit 2: Interactive Design and Game Development, Module 2: Game Design and Development – Specific Objective 10 (“identify the primary types of stories in games”); Specific Objective 11 (“differentiate among the types of stories in games”).

Attributions to media used in this post:

Dialog tree example.svg – Dcoetzee – CC0 (via Wikimedia Commons)

The Banner Saga conversation screenshot.jpg – Stoic LLC – CC BY-SA 3.0 (via Wikimedia Commons)

© 2026 Vedesh Kungebeharry. All rights reserved.

Story Arcs Explained: Five-Point, Eight-Point and Three-Act Structures for Games and Animation

A story arc is the path a story follows from its beginning, through rising tension, to its end. A narrative is the story as it is told to the audience, and storytelling principles are the techniques that keep people interested, such as conflict, cause and effect, and change. Writers use a few well-known story structures as blueprints for their arcs.

In Story Development and Scriptwriting we met the basic “plot mountain”. This post compares three structures in practice, the five-point arc, the eight-point arc and the three-act structure, and shows how to use them to write a narrative for both an animation and a game.

The five-point story arc

The five-point arc is based on the pyramid the German writer Gustav Freytag used in 1863 to describe dramatic plays. Using the folk tale Jack and the Beanstalk:

  1. Exposition – Jack and his mother are poor and must sell their cow.
  2. Rising action – Jack trades the cow for magic beans, a giant beanstalk grows, and he climbs into the giant’s castle.
  3. Climax – the giant chases Jack down the beanstalk.
  4. Falling action – Jack chops down the beanstalk and the giant can no longer follow him.
  5. Resolution – Jack and his mother live comfortably with the treasure he brought back.
Hand-drawn diagram of Freytag’s pyramid with a rising line, a peak and a falling line
Figure 1 – A simple drawing of Freytag’s pyramid: introduction, rising action, climax, a falling slope (labelled “resolution” here, the falling action) and the ending of the story.

The eight-point story arc

The eight-point arc, described by the author Nigel Watts, breaks the story into smaller steps. It is especially useful for planning scenes, episodes and levels.

PointWhat happensJack and the Beanstalk
1. StasisEveryday life before the story starts.Jack and his mother are poor.
2. TriggerSomething beyond the hero’s control starts the story.They must sell the cow; Jack swaps it for beans.
3. QuestThe hero sets out to achieve a goal.Jack climbs the beanstalk to find a fortune.
4. SurpriseUnexpected events and obstacles.A giant lives there and can smell him.
5. Critical choiceThe hero makes a difficult decision that shows who they are.Jack chooses to go back up for more treasure.
6. ClimaxThe highest point of tension.The giant chases Jack down the beanstalk.
7. ReversalThe result of the choice; the hero’s situation changes.Jack chops down the beanstalk; the danger is over.
8. ResolutionA new everyday life.Jack and his mother are safe and no longer poor.

The three-act structure

Most films, and many games, use three acts:

  • Act 1: Setup (about the first quarter) – introduce the hero, the world and the inciting incident. It ends at plot point 1, when the hero commits to the goal.
  • Act 2: Confrontation (about half) – obstacles get harder. A midpoint twist raises the stakes. It ends at plot point 2, often the lowest moment.
  • Act 3: Resolution (the last quarter) – the climax, where the conflict is decided, and a short ending.
Diagram dividing a story line into Act 1, Act 2 and Act 3 with marked plot points
Figure 2 – The three-act structure: setup, confrontation and resolution, with the inciting incident, plot points, midpoint and climax.
Graph showing tension rising across three acts and dropping after the climax
Figure 3 – Tension usually rises through the three acts and peaks at the climax near the end.

How the three structures fit together

Three-actFive-pointEight-point
Act 1: SetupExpositionStasis, Trigger
Act 2: ConfrontationRising actionQuest, Surprise, Critical choice
Act 3: ResolutionClimax, Falling action, ResolutionClimax, Reversal, Resolution

Storytelling principles that make arcs work

  • Cause and effect – link events with “but” and “therefore”, not “and then”. Each event should cause the next.
  • Stakes – make it clear what the hero will lose if they fail.
  • Change – the hero, or their world, should be different at the end.
  • Set-up and pay-off – if something important happens in Act 3, plant a hint of it in Act 1.
  • Pacing – alternate tense moments with quieter ones so the audience can breathe.

Writing a narrative for an animation and for a game

An animation narrative is linear: the audience watches the same events, in the same order and at the same speed, every time. A game narrative must share control with the player, so writers choose how much freedom to give:

  • Linear – one main path through levels, with the story told between them.
  • Branching – player choices lead to different scenes or endings. The eight-point “critical choice” becomes a real choice.
  • Open or emergent – the player explores freely and discovers the story through places, objects and characters (environmental storytelling).

A simple way to map a game onto three acts is: Act 1 = the tutorial levels, Act 2 = the main levels with a midpoint twist or boss, Act 3 = the final level and ending. See What Is a Level in Game Design? for planning those levels.

Example

Idea: Nia, a young steelpan player, discovers that the tenor pan she needs for the Panorama competition has gone missing from the panyard.

Animation narrative (three acts): Act 1 – Nia practises every evening; two days before the competition her pan vanishes (inciting incident) and she promises the band she will find it (plot point 1). Act 2 – she follows clues around the neighbourhood, but each lead fails; at the midpoint she learns her rival borrowed it to secretly repair a dent; her anger peaks when the rival will not return it in time (plot point 2). Act 3 – on competition night Nia chooses to share the stage and a borrowed pan with her rival, and together they help the band play its best performance ever.

Game narrative: Level 1 (tutorial) teaches rhythm-tapping in the panyard. Levels 2–3 are search levels in the neighbourhood, where finding clues unlocks new songs. After the midpoint reveal, the player makes a critical choice: confront the rival or team up. Each choice leads to a different final level and one of two endings.

Watch the video below for a clear walkthrough of the eight-point story arc:

Exercise

  1. Choose a well-known story (a fairy tale, folk tale or film) and map it onto the five-point arc and the eight-point arc.
  2. In a group, take a culturally relevant scenario, such as a lost Carnival costume, a village festival or a hurricane, and plan its story arc on a large sheet of paper.
  3. Write a three-act narrative of about 300 words for a short animation based on your scenario. Label the inciting incident, midpoint and climax.
  4. Rewrite the same story as a game narrative: plan three to five levels, one critical choice and two possible endings.
  5. Start a story journal. Each week, note a story you watched, read or played and identify its arc.

Next: Storyboarding with Camera Shots and Angles (Plus a Camera Angle Montage Exercise)

Syllabus link: This post is relevant to the CAPE® Animation and Game Design Syllabus, Unit 1: Fundamentals of Animation and Game Design, Module 3: Story and Character Development – Specific Objective 2 (“write a narrative for a game and an animation based on story arcs and storytelling principles”).

Attributions to media used in this post:

Freytag Pyramid.png – Kubrapika – CC BY-SA 4.0 (via Wikimedia Commons)

Three-act structure.svg – Puikstekend – CC BY-SA 4.0 (via Wikimedia Commons)

Tension of three act structure.png – UfofVincent – CC BY-SA 4.0 (via Wikimedia Commons)

© 2026 Vedesh Kungebeharry. All rights reserved.