The line between gamer culture and traditional storytelling is being blurred, one quest notification at a time, as readers get addicted to novels that combine sci-fi and fantasy narratives with features from video games.
These “gamified novels”, which are based on video games, are “going mainstream” and selling in their millions, said The Economist.
Cosmic octopus
Standing for “literary role-playing game”, LitRPG is a genre of fiction that combines a traditional story with mechanics from role-playing games and video games. Although a Russian publisher insists that it coined the term in 2013, versions of the genre had been popular in Asia since the turn of the century.
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The books “borrow the tropes of video and tabletop games”, and the characters “face challenges and grow stronger” as they “go on quests to obtain rewards”.
For instance, in the novels of Matt Dinniman, whose books have sold over six million copies, the hero “gets tougher as he punches goblins” and “defeats a monster” that is a mix of a “cosmic octopus” and “your average, suburban, anti-vax, let-me-talk-to-your-manager mom”.
The reader is regularly “updated on his character stats, health bar, XP [experience points] and special skills”. “Video-game vernacular” offers a “useful shorthand” – “minor figures” in the story are called “NPCs: non-playable characters”.
“Unlike choose-your-own-adventure tales”, readers don’t “make narrative choices”, but they “often interact with their favourite authors and leave comments on chapters, which then shape the stories”. This means the authors are “thinking strategically on and off the page” and many “self-publish their work online, chapter by chapter”. Some writers are particularly “prolific, posting new material daily”.
The adulation of readers is quite something. Dinniman “knew things were getting out of hand” when “rabid” fans “started asking him to sign their feet”, said The New York Times last year. When he put out a statement drawing the line at signing feet, his “undeterred” fans brought “foot-shaped silicone sex toys”, “heart-patterned boxers, pink Crocs, ‘Gilmore Girls’ DVDs, stuffed cats and severed doll heads” – all objects that feature in his novels.
The money is impressive, too. His series is in development for television and is being adapted into graphic novels, a multi-cast audio drama and a tabletop game. Dinniman has a merchandise range that includes sweatshirts, baseball caps, phone cases, wall tapestries, action figures and plush toys.
“Quantity has been trouncing quality,” said The Economist, so the genre is “not going to win any prestigious awards”, but readers “looking for escapist thrills are often forgiving”. Although the core readers are “gamers in their 30s”, its “biggest audience” is audiophiles, ranging from “truckers to stay-at-home mothers”, because the novels “often have only one perspective, and are usually narrated in the first person”, making them “easy to follow”.
Many of the readers “grew up gaming or playing tabletop games like Dungeons & Dragons”, said USA Today. Brandon Dwane, a 28-year-old from Massachusetts, “never considered himself a reader”, but “that changed” when he began reading LitRPG. Now, he’s a “junkie” for the “dopamine” hits the novels give him.
