Class Selection and Narrative Limitation
In many ways, classes have become one of the most common staples of videogames, not only because they were prominent in pen-and-paper RPGs, but also because they offer a convenient way to structure narrative. Take, for example, Star Wars The Old Republic, an MMO that sold itself as a game that would reintroduce narrative as a central component to online gaming. While my experiences playing TOR were satisfactory, there were always those red, translucent barriers blocking doorways in certain buildings. Beyond those barriers were portions of the game limited to players of other classes; and while it makes sense that the game would create these kinds of sectioned areas to funnel players of the correct class into the correct areas, it was suggestive of a limitation.It was as if Elizabeth Gaskell required her readers to decide, before beginning to read Mary Barton, whether they wanted to enjoy a novel critiquing the crippling inequity in industrial Britain, a murder mystery, or a love triangle between a girl and two young men (a la The Notebook: one wealthy, another her childhood (but poorer) friend (yes, I know, I just compared Elizabeth Gaskell to Nicholas Sparks)). What if, depending on the reader’s choice, certain portions of the novel would then be sealed, unless you agreed to go back to the beginning and start again, this time with a different choice?
Lisa Dusenberry, a friend and colleague who is a Marion L. Brittain Fellow at Georgia Tech, has developed the concept of a “reader-player” to describe participants in and consumers of children’s literature that isn’t “restricted to a single medium, single source text, and/or a single method of reader interaction” . Her term is useful because it aptly suggests that players experience the narratives of videogames across a variety of media. At the same time, the close connection between reading and playing only exacerbates the disconnect that a videogame creates when particular avenues of narrative exploration are deliberately closed to the player. Of course, many (if not all) videogames are designed around the notion that the player might not experience all of the content on their first playthrough. As early as Super Mario Bros., secret tricks and areas offered new exploratory and (minimally) narrative possibilities. But the best games offer these alternatives in a way that doesn’t impress upon the player that their experience is somehow incomplete.
The Possibility of (Illusory) Narrative Freedom
Yet with the class selection systems of many games, the game makes it only too clear that your choices will place you into a particular category from which you are rarely allowed to deviate. This argument has been raised recently with the changes between the skill trees in Diablo II and Diablo III; where Diablo II locked players into their choices, Diablo III has allowed more freedom and customization. Opinions on this change vary, but even Diablo III’s options exist under the aegis of a class choice; you may be able to change your character’s abilities, but that character is still limited to being a barbarian, monk, or wizard. The necessity of this choice suggests a longtime difficult with videogames: are they primarily a narrative medium or something more fundamental. As in chess, it seems silly to expect that all the pieces (or characters) could have the same movement (or class) options. So how should videogames negotiate their narrative and gaming aspects in the context of class choice?
The word “class” is itself fraught with all kinds of social, cultural, and political baggage. And while it may seem that the term is somehow shed of these undertones in the context of videogames, I would suggest that in many ways character classes create systems of inequity that have ramifications for how a videogame’s world is presented to players. I was an early purchaser of the first Guild Wars in 2005, and the game appealed to me initially because it had a strong narrative component. Indeed, the entire game world was dramatically altered between the introductory quests and the bulk of the game. But what was fascinating about the way that the class system in that game impacted my experience as a player focused on the Guild War’s heavy reliance on an instanced mission system. In these missions, up to six players could team up to tackle a particular part of the game’s narrative campaign, but in many of the cities, which served as hubs where players could meet up with and join other groups, a resounding refrain continually graced the community chat window. “GLF Monk!!!” In Guild Wars, monks were the healer class, and for whatever reason the game’s player economy, in those early days, was largely bereft of a sufficient number of monks. Especially in more difficult missions, where a healer was essential, an inability to find a monk could dash a group’s hopes of completing the narrative.
Between Star Wars The Old Republic and Guild Wars, it becomes clear how much power character classes can wield over a players experience of a narrative. Obvious restrictions on content based on an initial (and somewhat contextless) class decision fostered a conflictedness within the player. Ignorance may be bliss, but obligatory ignorance often grates, particularly in a narrative medium that often revels in possibility. “Class warfare” suggests the inner-turmoil that players experience as they realize how a game’s narrative is restricted, but it also can point to how particular classes become more or less valued within the game’s social economy. So how might games arrive at a possibility of creating different kinds of experiences for players without relying on classes as a restrictive narrative method?
A game that navigates these difficulties quite well in the single-player realm is The Cave. While players are required to choose only three of the eight initial characters available, the narrative seamlessly weaves the stories of your chosen characters together. Additionally, The Cave, while labeling the characters in a way reminiscent of a class structure, invests their characters with a sense of being that extends beyond their labels. Returning to my friend’s first impressions of Skyrim, I was impressed by his exuberant realization that the game in no way forced him to choose a certain class of character. And perhaps games that eschew classes and classification actually proffer a greater sense of narrative immersion and possibility to their players. On the other hand, in games where class selection are an essential part of the game design, perhaps developers can look to The Cave as a prototype of the kind of game that effectively masks the narrative limitations that class selection necessitates. 
 Dusenberry, Lisa. “Reader-Players: The 39 Clues, Cathy’s Book, and the Nintendo DS.” Children’s Literature Association Quarterly 35.4 (2010): 443-49.
 Reader’s might note that this article seems to posit a conflict between online and single-player videogames. While I agree that my examples do fall along those lines, I would suggest that there is nothing inherent in online games that requires them to adopt a class structure. While it was a commercial failure, Cyan’s short-lived Uru experimented with an online world in which players were not assigned any kind of class limitation.