I like to think that games can be successful and meaningful in the story department when the experiences and motivations of the player character align with those of the player. In Spec Ops: The Line, the player’s experience of the game mirrors Martin Walker’s journey as he slowly comes to terms with the fact that everything he takes for granted is being called into question (as I've explained here). Far Cry 2 is a game in which the player character is prolonging a conflict so that the player can keep having fun (as Ed Smith point out here). In that regard, Alien: Isolation has a huge disadvantage and struggles to make the player feel Amanda Ripley's plight. That's not developer Creative Assembly's fault and they've managed an effective workaround.
Welcome to Playthroughline, a personal blog focused on the implementation of stories in games. In addition to general musings about narrative design, you’ll also find a collection of Scripts that basically do for videogames what The Editing Room does for movies.