Mazes

Mazes in their multiple forms, simplistic or complex, are often implemented into the level and structure design of most modern video games.
Mazes as a whole are divided into two categories: Unicursal and Multicursal.
Unicursal having only one path from start to end.
Multicursal having many branching and twisting paths that may or may not lead to the destination.
The word labyrinth is derived from the Latin and Greek words for buildings with intricate passages. In this respect labyrinths are primarily unicursal. They may twist and turn multiple times but there is only one path.
Maze on the other hand is derived from the Middle English term for delusion or delirium. Examples of this are hedge mazes that have branching paths, dead ends and possible multiple paths to completion.

The idea of mazes can be applied in multiple ways to games, in more than one respect. In terms of narrative a game could be multicursal but the mechanics could be unicursal or any combination of the two. By the very definition of the medium however games must be in some respect multicursal because as soon as the player is given the opportunity to interact or not interact immediately creates a branching path, as is the nature of any interactivity.

The Stanley Parable is a game that explores the idea of choice in a narrative in a very unique way. The player is given directions by a narrator to follow a specific path at specific times. However the player at any point can choose to ignore these suggestions and do as they please often changing the narrative as a result. The entire game is themed around how a players action often oppose the games narrative and as such is multicursal in both narrative and mechanics.

Portal on the other hand is almost entirely unicursal. Except when it is not. For each puzzle there is only one solution, only one way from start to finish and one overriding narrative. The puzzles themselves may be difficult often without clear solutions but that does not make them multicursal. However within many of the levels there Doug Ratman's hidden chambers which offer no clues or ways to solve levels, merely add extra narrative depth and place doubt in the players mind as to gLaDoS's true intentions.

Bioshock Infinite is overall unicursal as befitting the games narrative and theme. The whole game is a critique of how games are in a constant spiral of repetition and differing variables. Variables in this case being aesthetic in this sense. The game often offers multicursal mechanics to the player which in fact amount to nothing, exercising the point of how choice can often be an illusion, especially in this narrative.

The levels in DOOM 2016 are an excellent example of multicursal design in both layout and gameplay. While there is a clear start and finish, in between you have large, expansive levels with both objectives and enemies littered around it. Corridors branch off into different passages and lead out into spacious combat areas, all interconnecting to each other, making the player explore the entirety of the level to uncover its hidden secrets. The majority of DOOM's levels have objectives that can be completed in any order which could be considered a multicursal approach to objective design.