Applying Todorov’s Narrative Equilibrium Theory to the Non-Linear Structure of Disco Elysium

Abstract

This thesis explores the relevance of Tzvetan Todorov's Narrative Equilibrium theory, which includes the phases of equilibrium, disruption, recognition, restored order, and new equilibrium, in relation to the non-linear, player-driven format of the interactive fiction video game Disco Elysium (ZA/UM, 2019). Utilizing a qualitative narrative analysis based on structuralist theory, the research examines how the game's fragmented storytelling, branching dialogue trees, Thought Cabinet mechanic, and probabilistic skill checks not only mirror but also challenge Todorov's traditional model. Research shows that although all five stages can still be recognized, they are significantly altered: equilibrium is now viewed as a “post-equilibrium” that demands player reimagining, disruption occurs at various simultaneous levels (external, internal, societal), recognition is spread out across numerous possible realizations instead of being confined to a single moment, and both restored order and new equilibrium arise as conditional outcomes determined by the players rather than being established fixed narrative conclusions. The analysis clearly shows that player agency significantly impacts the structural integrity of Todorov’s model within interactive environments. In contrast to traditional linear narratives where stages are presented in a sequence determined by the author, Disco Elysium distributes narrative control through player decisions, skill results, and internalized thoughts, making the shift from disruption to equilibrium an outcome of gameplay that arises organically rather than following a set course. The study concludes that while Todorov’s framework is still useful for interactive fiction, it should be viewed as a tool to map potential narrative structures instead of actualized ones, which reflects the active role of the reader-player in co-creating meaning. This research adds to the increasing academic acknowledgment of video games as valid literary works and supports the need to adapt structuralist theories to reflect diversity, unpredictability, and negotiated balances typical of non-linear, player-driven stories.