įernández-Vara, C.: The Game’s afoot: designing sherlock holmes.

Ryan, M.-L.: Interactive narrative, plot types, and interpersonal relations.

Murray, J.H.: Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Hocking, C.: Ludonarrative dissonance in bioshock: the problem of what the game is about, Click Nothing, 7 October 20087. Murray, J.H.: Research into interactive digital narrative: a kaleidoscopic view. Koenitz, H.: Thoughts on a discipline for the study of interactive digital narratives. Using Telling Lies as an example, we identify some characteristic design challenges and opportunities afforded by the constrained database search approach and point to unexplored design opportunities that could make this strategy the basis of a more widely-practiced genre. By mapping our own experience and examining Barlow’s development documents and code, we describe how the artfully gated search mechanic creates temporal disjunctions that provide glimpses of narrative situations that pique curiosity while suppressing explanatory revelations. This paper explores the expressive potential of Barlow’s signature database search mechanic for creating the experience of dramatic agency through managed revelation.

Such stories offer the pleasure of revelation, and they hinge on hiding information so that it is later revealed in a way that maximizes the experience of dramatic agency. This storytelling strategy can be situated within traditions of epistemic narratives in which the interactor navigates through a set of unchanging narrative segments, motivated by the desire to increase knowledge of the story. Sam Barlow’s story-based video game Telling Lies (2019), like his previous game, Her Story (2015), is based on an interaction mechanic in which the player searches a fixed archive of videoclips using keywords found in the dialog of the fictional characters.

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