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, Game Scripts and Storyboards for Interactive Games

A story arc is the shape a story follows from beginning to end: it starts with a setup, builds tension through rising action, peaks at a climax and settles into a resolution. A game script is the written document that holds a game’s dialogue, scene descriptions and, unlike a film script, the choices and conditions that change what happens. A storyboard is a sequence of drawings that shows how scenes, shots or gameplay moments will look before they are built.

This lesson builds on three Unit 1 posts: Story Arcs: Five-Point, Eight-Point and Three-Act Structure, Story Development and Scriptwriting for Animation and Games and Storyboarding, Camera Angles and Shots. If you have not read them, start there. Here we focus on what changes when the audience is also a player.

Steps in creating a story arc

StepWhat happensIn a game
1. Exposition / setupIntroduce the world, the hero and what they want.An opening scene or first level that teaches movement while showing the world.
2. Catalyst (inciting incident)Something disrupts normal life and starts the adventure.The village is flooded, a friend is captured, a strange signal appears.
3. Rising actionChallenges grow; the hero gains skills, allies and obstacles.New levels, new abilities and tougher enemies or puzzles.
4. Turning pointsMajor surprises or decisions that change direction.A plot twist, a boss that reveals a secret, or a player choice that opens a new path.
5. ClimaxThe greatest challenge and highest tension.The final boss, the hardest puzzle or the key decision.
6. ResolutionLoose ends are tied up and we see the new normal.Ending cut-scene, credits, and often a post-game world to explore.
Circular diagram of the Hero’s Journey showing a call to adventure, threshold, trials and return
Figure 1 – The Hero’s Journey, a circular story pattern described by Joseph Campbell: the hero leaves the known world, faces trials in the unknown, and returns changed. Many games follow this shape. Image: Unknown author; vectorised by Slashme, Public domain, via Wikimedia Commons.

Arcs in interactive stories

In a film, the writer controls the pace. In a game, the player does. That is why game writers pair the story arc with a difficulty or intensity curve: tension rises through gameplay, with calm moments (a safe town, a cut-scene) between intense ones. Games with choices may have several arcs that share a beginning and a climax but take different routes, or even end differently.

The Extra Credits video below shows how the game Journey builds a moving story arc almost entirely through play, music and landscape, with no dialogue at all:

Writing scripts for games

Game scripts contain the same things as film scripts – scene headings, action and dialogue – but they also need:

  • Branches: different lines depending on the player’s choice (“If the player chose to help the fisherman…”).
  • Conditions and variables: notes such as “only if the player has the lantern” or “if trust ≥ 3”.
  • Barks: short lines characters say during play (“Over here!”, “I need more wood!”), often written in lists with several versions so they do not repeat.
  • Tutorial and UI text: button prompts, hints and item descriptions – these are writing too.
  • Voice direction: notes for actors about emotion and volume.

Writers often use a spreadsheet for dialogue, or special tools. Celtx handles screenplays and storyboards; Twine is a free tool for writing branching, choice-based stories; engines have dialogue plug-ins such as Ink or Yarn Spinner.

Screenshot of the Twine story map with connected boxes representing story passages
Figure 2 – Twine, a free open-source tool for writing interactive, branching stories. Each box is a passage and the arrows show the choices that link them. Image: AlexRosenthal, CC0, via Wikimedia Commons.

Sample game script format

SCENE 3 – HARBOUR AT DUSK
Rain begins. Boats knock against the pier.

MARISOL (worried): The storm is early. Grandpa’s boat is still out.

PLAYER CHOICE:
[A] "I’ll take the lighthouse path." -> SCENE 4A (sets courage +1)
[B] "Let’s ask the harbour master." -> SCENE 4B (sets trust +1)

IF player has LANTERN:
MARISOL: Good – light it at the top. He’ll see it.
ELSE:
MARISOL: We need light. Check Mr. Joseph’s shop.

BARKS (Marisol, while following): "Careful, it’s slippery!" / "Hurry!" / "I can see the light!"

Storyboarding for games

Game storyboards are used for cut-scenes (like film storyboards) and for gameplay sequences, where each panel shows what the player sees and does. Gameplay boards often include arrows for player movement, notes on the controls being used and small drawings of the HUD. Keep each panel simple: a clear drawing, a camera note (wide shot, close-up, over-the-shoulder) and a caption of the action or dialogue.

Storyboard sheet with rows of sketched panels and handwritten notes
Figure 3 – A storyboard page: numbered panels with simple drawings and notes underneath each one. Game storyboards add notes about player actions and camera control. Image: Tom Ray (tmray02 on Flickr), CC BY-SA 2.0, via Wikimedia Commons.

Example

A student plans a short game, Lantern Night, about a girl guiding her grandfather’s boat home during a storm.

  • Setup: a calm harbour; the player learns to walk and talk to villagers.
  • Catalyst: the storm arrives early and Grandpa’s boat is missing.
  • Rising action: the player finds a lantern, crosses a slippery cliff path and fixes the lighthouse gears.
  • Turning point: the lighthouse bulb is broken; the player must choose to use the lantern as the light.
  • Climax: in a timed sequence, the player keeps the flame alive against wind gusts while the boat approaches.
  • Resolution: the boat reaches the pier; villagers celebrate, and the lighthouse becomes the game’s save point.

She writes the script scene by scene (like the sample above) and draws a nine-panel storyboard of the climax: panel 1 wide shot of the storm, panel 2 close-up of the flame flickering, panel 3 the player pressing a button to shield it, and so on.

Exercise

  1. List the six steps of a story arc and describe each one for a game you have played.
  2. Write a one-page game script for a scene with at least one player choice, one condition and three barks.
  3. Draw a six- to nine-panel storyboard for either a cut-scene or a short gameplay sequence from your script. Add camera and control notes under each panel.
  4. Try Twine (free at twinery.org) and turn your script into a playable branching story with at least two endings.

Next: How to Pitch an Interactive Game and Design for Your Target Audience (Demographics)

Syllabus link: This post is relevant to the CAPE® Animation and Game Design Syllabus, Unit 2: Interactive Design and Game Development, Module 1: Introduction to Interactive Design – Specific Objective 11 (“identify the steps involved in creating a story arc”); Specific Objective 12 (“employ the knowledge of writing scripts for games”); Specific Objective 13 (“create a storyboard”).

Attributions to media used in this post:

Heroesjourney.svg – Unknown author; vectorised by Slashme – Public domain (via Wikimedia Commons)

Twine 2.9.2 screenshot.png – AlexRosenthal – CC0 (via Wikimedia Commons)

Storyboard for The Radio Adventures of Dr. Floyd.jpg – Tom Ray (tmray02 on Flickr) – CC BY-SA 2.0 (via Wikimedia Commons)

© 2026 Vedesh Kungebeharry. All rights reserved.