 That means linear narrative structures or presentation of multiple specific facts, which can be key to nonfiction stories, do not work as well with a gaming setup.Often, players advance through the game by passing “levels” that do not necessarily relate to the inherently unchangeable nature of a nonfiction narrative (no matter from whose perspective it has been constructed).One example is Cutthroat Capitalism (2009), a news game appended to Wired Magazine’s story on Somali pirates.