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This is why we make games.

And this is why we read the comments section.

Choice-management in the aid of building tension

At present, the word "tension" is almost exclusively considered negative.  The quest of the modern man is to reduce tension, or stress, which are known causes of disease and emotional distress.  The desired state is one of complete relaxation.

However, in the artistic world, we find that many descriptions of good works imply tension: taut, solid, robust.  Likewise, many descriptions of poor works imply the opposite: loose, unfocused, flat.  It seems that while we prefer our bodies to be relaxed, we prefer our books, movies, music, and games full of tension¹.

"All the play's a game...": Narrative as a game

Writers in the narrative formats--be it novels, screenplays, etc.--often borrow terms from games to describe dynamics in the narrative.  There is talk of "setting the stakes," "set-ups and pay-offs," "playing out his hand" or "her ace-in-the-hole."  Classic self-referential lines include, "Now it's my turn" and "Game over, man."  Certainly, writers borrow terms from wherever they find utility, frequently using such concepts as disparate as Newtonian physics and strings of thread, as well.  My intent here is not to argue that all narratives are based on games, or vice versa, but rather to explicate the two's relationship in hopes that it will surface lessons for both crafters of narratives and crafters of games.