Displaying the agency of a player requires both the choices they can make and the choices they cannot or did not make. Having a bird's eye-view to witness the player's movement amongst the choice reflects what Evans considers "not a matter of interpretation, but of augmentation" (
Computer Games 117). The implementation of this perspective will take form in a choice-drive branching narrative; in this format it will resemble something akin to
Choose Your Own Adventure books, however in play, the nearly, if not totally, infinite pathways are organically navigated amongst without the stifling either/or choices presented here. A positive aspect of this method allows the player to witness The Drama Queen augment the story by choosing which events they wish to see transpire, while being aware of routes that are closed off or willingly unexplored; augmenting in this sense is the act of inclusion by choice, and exclusion by nature. Certain avenues of narratives are closed off to The Drama Queen because of her particular character creation and narrative goals; she is uninterested in solving the looming danger of evil on those who don't want it, and therefore those narratives are closed off to her. The player is currently aware that it's possible some world-saving needs to be done, however, we are following a particular character who is uninterested in such a story. Instead she is interested in looking for some trouble; she has one sure-fire option in looking for shady characters in Hommlet:
Terrigan's, a bar associated with the crime and filth of town.
