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Culture War Roundup for the week of May 13, 2024

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Player-Driven Emergence in LLM-Driven Game Narrative (and accompanying discussion on HN):

We explore how interaction with large language models (LLMs) can give rise to emergent behaviors, empowering players to participate in the evolution of game narratives. Our testbed is a text-adventure game in which players attempt to solve a mystery under a fixed narrative premise, but can freely interact with non-player characters generated by GPT-4, a large language model. We recruit 28 gamers to play the game and use GPT-4 to automatically convert the game logs into a node-graph representing the narrative in the player's gameplay. We find that through their interactions with the non-deterministic behavior of the LLM, players are able to discover interesting new emergent nodes that were not a part of the original narrative but have potential for being fun and engaging. Players that created the most emergent nodes tended to be those that often enjoy games that facilitate discovery, exploration and experimentation.

Recently there’s been increasing interest in the integration of LLMs and video games. With currently available models, creating an entire living virtual world with an unlimited number of realistic side quests, characters, and interactions is now a “mere” engineering challenge. No more pre-scripted dialogue trees; instead you can simply converse with NPCs in natural language with no limitations (or at least that’s the promise, as models become increasingly efficient).

This is another step towards what appears to be the natural endpoint of the technological development of video games: the recreation of life in replica, a replica at one’s mercy, an infinite horizon of choice without responsibility or constraint.

For a long time I thought that video games were the necessary next step in a development that could be described as “spiritual”. Games are largely an amalgamation of prior media - literature, painting, music, film - but they do introduce a new element (or at least they develop this element to previously undreamed of heights), and that is the element of interactivity, i.e. the ability to make a choice, to participate as the player in the creation of the art and to make the art be something other than what it would have been in your absence. I conceived of interactivity as the raw material out of which a new aesthetic language would be fashioned which would bring us closer to realizing the promise of art. But I have since begun to grow uneasy with this way of thinking.

In some sense I was too seduced by the possibility of finding something “new”, anything new, to detect the longstanding inconsistencies in my own thought. From a young age I always preferred linear, narrative-driven games as opposed to open world sandboxes. My favorite games were games that were devoid of choice, games that robbed you of the ability to make a choice. I found the idea of multiple endings for a story to be distasteful. Yes, you can choose to save this character or not, you can choose to join the bad guys or not - but now that we’ve had our fun imagining all the what-if scenarios, can you tell me what really happened? Do you have the courage to tell me? Do you have the strength of vision to see the truth, the singular truth?

Choice is antithetical to the aesthetic sacrifice. The artist sacrifices all alternate possibilities to distinguish one thing and one thing alone, to say - this one, and no others! No matter how lowly a thing it is - a dirtied article of clothing (as in Van Gogh’s A Pair of Shoes), a completely ordinary sequence of events on a day in Dublin in the year 1904 (as in Joyce’s Ulysses) - he is now stuck with it. This is where he signs his name and stakes his wager, for better or worse. It is this seemingly inexplicable devotion to one law, one vision, one truth, that makes possible any kind of experience that may be called aesthetic. An artist who hedges his bets and does not accept the risk that accompanies his act inspires no confidence in us.

The receiver of the message too enters into a sacrifice, insofar as the message may be incomprehensible or even dangerous to him. In this way an oath is forged between artist and audience. The failure to foreclose the horizon of possibility is the deferral of the signing of the bond.

Is there any great work that would be improved by the addition of choice, by the addition of alternate possibilities? Would Plato’s account of the trial and death of Socrates be better if there were a possibility of Socrates simply... not dying? If Callicles’s warning to Socrates, that his devotion to the “effeminate” subject of philosophy would be his downfall, might not come to pass? If Socrates might be able to eloquently defend himself at trial and avoid conviction? If he might escape from prison before his execution?

The deferral of the inevitable here would be nothing more than the refusal to establish the founding myth of philosophy, the myth that links philosophy with the sign of death. The internal law of Plato’s drama is clear (and the law of historical fidelity is irrelevant): Socrates must die. This is not to say that one is forbidden from creating new works in which new possibilities are imagined. Only that the unity of the original work should remain undisturbed in its repose.

Or you can just like, have fun with GTA6 when it integrates LLM-generated missions, I guess. Whatever.

I'm of essentially the exact opposite opinion. The linear game has almost no reason to exist. If my input has no effect on the outcome, why is it even required? All I'm really getting is a movie, but made objectively worse by the fact that it insists upon repeating a given scene until I complete an arbitrary task.

What's the point? Is there a movie that would be improved by making me win a round of Tetris every ten minutes to stop it from rewinding? Hell, why even have death animations or other displayed failure states in a video game? After all, it's not like the protagonist being eaten by monsters or falling down a hole to their death is what "really" happens.

Those failure states exist to create the illusion of agency. No game advertises itself by telling you the princess can already be considered rescued, because that's the artistic intent, but hey you can come push buttons if you want to see it. No, they want to create at least the pretense of the player's input having consequences.

So stop with the pretense and give me the real thing. Give me actual agency and consequence. Or commit to your singular vision for the story and write a book instead.

So stop with the pretense and give me the real thing. Give me actual agency and consequence. Or commit to your singular vision for the story and write a book instead.

The point of the game is the game. Mario isn't about rescuing princess peach it's about platforming. The story is just window dressing for the mechanics. It's just complaining that the game chess doesn't have a canon ending.

It's just complaining that the game chess doesn't have a canon ending.

It does. Shah mat; the king dies.

Unless it's a draw...