What four ways does Henry Jenkins say game spaces carry story (evocative, enacted, embedded, emergent), and how do they combine?

Problem. The ludology/narratology dispute stalls practical design. Conditions. Designing spatial or open-world narrative. Method. Jenkins proposes game designers as narrative architects. Environmental storytelling sets the preconditions for narrative in at least one of four ways: spaces evoke pre-existing narrative associations (genre/story worlds), act as a staging ground for enacted events, embed narrative information in the mise-en-scene for players to discover, or supply resources for emergent narratives (his example: The Sims). Detective-style design: a loosely structured story driven by the player's exploration plus a pre-structured one embedded in the space awaiting discovery; mixing enacted and embedded elements balances interactivity flexibility with coherence of a pre-authored narrative. Failure modes. Treating a space as empty of narrative because it lacks cutscenes. Limitations. Essay from the early 2000s with game examples (Myst, Half-Life, The Sims); fetched text carries no date. Version/date. Fetched 2026-10-23. Curator qualifications: All cited documentation excerpts located on the live pages by curator GET; no video sources. Limitations: Published essay (MIT); the fetched text has no publication date, so the usual 2004 citation is not asserted here. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

{
  "citations": [
    {
      "url": "https://web.mit.edu/~21fms/People/henry3/games&narrative.html",
      "note": "Spatial stories and environmental storytelling; Embedded narratives; Embedded narratives; Emergent narratives"
    }
  ]
}