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Game Analytics on Narrative Based Video Games Vinayak Ravi U6561524 Submitted on 25 th October 2019 Report submitted for COMP6470 Special Topics in Computing Project Supervised by Dr. Penny Kyburz

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Page 1: Game Analytics on Narrative Based Video Games€¦ · Game Analytics on Narrative Based Video Games Abstract Narrative-driven videogames have developed over the past decade and developers

Game Analytics on Narrative Based Video Games

Vinayak Ravi U6561524

Submitted on 25th October 2019

Report submitted for COMP6470 Special Topics in Computing

Project Supervised by Dr. Penny Kyburz

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Student ID

For group assignments,

list each student’s ID

U6561524

Course Code COMP 6470

Course Name Special Topics in Computing

Assignment number Research Report

Assignment Topic Game Analytics on Narrative Based Video Games

Lecturer/convenor Professor Weifa Liang

Tutor/supervisor Dr. Penny Kyburz

Examiner Dr. Charles Martin

Word count 8548 Due Date 25/10/2019

Date Submitted 25/10/2019 Extension Granted

I declare that this work:

• upholds the principles of academic integrity, as defined in the ANU Policy: Code of Practice for Student Academic Integrity;

• is original, except where collaboration (for example group work) has been authorised in writing by the course convener in the course outline and/or Wattle site;

• is produced for the purposes of this assessment task and has not been submitted for assessment in any other context, except where authorised in writing by the course convener;

• gives appropriate acknowledgement of the ideas, scholarship and intellectual property of others insofar as these have been used;

• in no part involves copying, cheating, collusion, fabrication, plagiarism or recycling.

C O M P 6 4 7 0 R E S E A R C H

R E P O R T C O V E R S H E E T

ANU College of

Engineering and Computer Science

Australian National University

Canberra ACT 0200 Australia

www.anu.edu.au

+61 2 6125 5254

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Abstract

Narrative-driven videogames have developed over the past decade and developers have

been trying to attain proper balance between story and interactivity. Not minimizing this gap, i.e.

having too much of narrative or gameplay in one another, will cause disruption to the flow of the

game. Hence, this research focuses on studying narrative devices (dialogues, cutscenes) and

gameplay devices (Rules, goals, mechanics) in Uncharted 4 and learning its impact on one another.

Further, this research focuses on learning how immersion occurs by properly correlating each

factor with the narrative fictive-world, enabling the players to feel as being part of the character’s

story.

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Table of Contents

Abstract .............................................................................................................................. 3

1. Introduction ................................................................................................................. 6

2.Literature Review......................................................................................................... 6

2.1 Understanding Videogames .................................................................................. 7

2.2 Narrative Structure ................................................................................................ 7

2.3 Gameplay Structure ............................................................................................ 10

2.4 Immersion in Games ........................................................................................... 12

2.5 Achieving balance between story and gameplay ................................................ 13

3. Methodology ................................................................................................................. 13

3.1 Case-Study .......................................................................................................... 14

3.2 Formal Analysis .................................................................................................. 14

3.3 Close Reading ..................................................................................................... 15

4. Narrative and Gameplay Analysis on Uncharted 4 ....................................................... 16

4.1. Case Study on Uncharted 4 (Chapter 11: Hidden in Plain Sight) .......................... 17

4.2. Narrative in Uncharted 4 - chapter 11 .................................................................... 22

4.2.1. Narrative Architecture used in the game ......................................................... 22

4.2.2. Narrative Devices............................................................................................ 27

4.3. Gameplay Devices ................................................................................................. 30

4.3.1 Rules .................................................................................................................... 30

4.3.1 Goals .................................................................................................................... 32

4.3.1 Game Mechanics .................................................................................................. 33

5. Emergent analysis of the artefacts in minimizing Ludo-narrative dissonance ............. 34

6. Conclusion .................................................................................................................... 38

References ........................................................................................................................ 40

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Table of Figures

Figure 1: String of Pearls narrative model [10] .............................................................................. 8

Figure 2: 3rd person point of view [15] ........................................................................................ 10

Figure 3: Game mechanic's chain reaction [17] .............................................................................11

Figure 4: Achieving immersion in Videogames [21] .................................................................... 12

Figure 5: Navigating through the market [35] .............................................................................. 17

Figure 6: Nate encounters clock tower puzzle [35] ...................................................................... 18

Figure 7: Journal guiding Nate in solving the clock tower puzzle [35] ........................................ 18

Figure 8: Founder wheel's mechanism [35] .................................................................................. 19

Figure 9: Car chase sequence [36] ................................................................................................ 20

Figure 10: Manipulatable character during chase sequence -I [36] .............................................. 21

Figure 11:Manipulatable character during chase sequence -II [36] .............................................. 21

Figure 12: Narrative Architectural model ..................................................................................... 26

List of Tables

Table 1:4-Act structure explained [12] ......................................................................................... 25

Table 2: narrative devices (artefact description) [11] ................................................................... 29

Table 3: Rules artefact description [11] ........................................................................................ 32

Table 4: Goals artefact description [11] ........................................................................................ 33

Table 5:Emergent narrative architecture artefact .......................................................................... 37

Table 6: Play-pattern pseudocode artefact .................................................................................... 37

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1. Introduction

Video Games are basic feedback systems which with help of visual user-interface helps

players in interacting with it. It engages one to experience and divulge into new frontiers in an

interactive fashion. They are primarily made of three elements: (i) Narrative, (ii) Gameplay &

mechanics and (iii) Goals & objectives. The act of combining these elements, i.e. the story and

gameplay and other core components, result in an immersive experience to the players. However,

achieving a perfect mix of this phenomenon is hard and hence, Ludo-narrative dissonance exists.

This report focusses on establishing a relationship between narrative and gameplay, through a

player’s perspective, i.e. all the three parameters aren’t referenced as separate individual elements,

but as a collective one. Subsequently, the primary reason of why narrative was treated second-

fiddle to all other components is the poor handling of it from various generations, i.e. improper

deployment of narrative devices (Dialogues, cutscenes) results in slowing of pace and mundane

representation of the world imagined by the developer. The report uses mixed model (case study,

formal analysis & close reading) qualitative analysis approach, to analyze on impact of narrative

and gameplay cohesiveness in Uncharted 4. Results obtained through the analysis deems to have

an augmenting outcome on the corresponding player, by balancing the polarizing gaming elements,

rendering emergence.

2.Literature Review

The literature review focuses on understanding the researcher’s view on gaming paradigm,

in terms of narrative architecture as artefacts, and its structure incorporated, also gameplay

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elements. Additionally, the concept of emergence in terms of level of immersive content depicted

in combining both the gaming components (narrative and gameplay) is also researched.

2.1 Understanding Videogames

The concept of videogames is defined as a pragmatic hindsight towards a player’s personal

life, by developing rules and logics behind it. Further Murray [1] supports the theory, stating that

videogames are ‘participatory in-approach’, which allows players to interact with the rules and

game mechanics framed, thus enabling them to be viewed as artefacts. Additionally, games can be

referenced to be addressed as ‘systems’, which is necessarily a compilation of elements affecting

one another, forming a coalescing pattern that is separate from those elements combining it [2].

Players are viewed to be components which facilitate a sense of interactivity in this macrocosm of

elements, from which a game is made. Further M.L. Ryan [3] exclaims that, videogames will see

an upbringing of various complex characters and the players are channeled through their memories,

emotions, dramas, thereby creating an educational artistic pleasure, through constant advancement

in visual graphics among various consoles. This suggests that, narrative will engage players in a

constructive manner, which results in narrative not being treated second to other elements in

gaming industry. The question where researchers and developers focus are on, how to bridge these

two resonating elements into a well-tuned functioning emergent device.

2.2 Narrative Structure

Narrative structure was primarily related to media and cinema arts, whereas, in recent times

narrative has been one of the main proponents for gaming industry. Narrative designers take a top-

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down approach in designing ‘narrative’ for games, likewise, interactivity is brought by bottom-up

input (choice) from the player. Interactivity involves in balancing the building blocks of time,

space, characters and events, to pioneer adverse/advantageous outcomes in accordance to the

scenario designed for each level in the games [3]. Additionally, Majewski [9] proposed four

narrative architectural models ‘String of Pearls, branching narrative, amusement park, building

blocks’, which guides the flowline of the plots in the narrative. Further, since Uncharted series

follows a linear-adaptable storyline, String of Pearls model approach is what connects the

sequence of events (pearls) by strings (narrative devices), which can be viewed as shown in (Figure

1)

Figure 1: String of Pearls narrative model [10]

Games like Uncharted series provide extensive importance for narrative and hence they

follow a specific style, such as 3-Act or 4-Act Narrative plot architecture interfacing with the

specific model, which acts as an anchor for plot/story devices to weigh on. The four-act structure

follows a specific structure such as [4]:

• Act One: Setup and complication

• Act two: Conflict and rising action

• Act three: Crisis

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• Act four: Climax

Narrative writers usually prefer 4-Act structure because of its versatility to handle change in

the plot. Consequences that arise because of the change created in the plot, enhances the narrative

and brings up a thrill element, which needs to be handled in accordance to the needed story setting

for the game.

Narrative Devices are elements in the narrative structure which helps in interacting the

plot/story to the player. They act as an illustrator linking the goals, mechanics and the decisions

made in the game, to the core theme the game is centered on. Narrative is an advocate to the player,

introducing the gameplay mechanics (rules, goals, in-game mechanics) and the choices/decisions

embedded in the game. The narrative devices incorporated in the game are split into three parts for

research purposes namely, Dialogues, Cutscenes, Point-of-View.

Dialogues are means of interaction for the agents to exchange useful information through

conversations, thereby sharing emotional connotations between characters, leading to meaningful

relationships, lucrative strategies, or effective character build-up. Subsequently [5], the father of

speech act theory ‘J.L. Austin’ exclaims the importance of words, which can be used to either

‘describe or to cause action’. Dialogues are integral part of narrative-based videogames like

‘Uncharted 4, Last of Us, Witcher series, Assassin’s creed series’ and acts as a binding factor,

correlating gameplay mechanics and the core idea behind the game’s creation.

Secondly, Cutscenes act as an important non-playable/ partially-playable live-action sequence

created in a videogame to create an engaging experience bolstering the plot in that segment or the

over-arching theme. [6] They also give the players an advent of mission-briefing, story ahead,

introduction of gameplay mechanic etc., giving insight towards imminent narrative.

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Thirdly, Point-of-view (3rd person) is the videogame characteristic (graphical perspective)

allowing the player in visualizing the game world either with a manipulative camera (able to

view/control the player’s actions with a camera placed over the shoulders/top and behind the

controlling character). The (Figure 2) shows the ability to view the player’s view action through

various perspectives, with controllable camera angle, enabling the player to act as both player and

director [8].

Figure 2: 3rd person point of view [7]

2.3 Gameplay Structure

Gameplay mechanizes the constituent elements which determines the character’s mobility

characteristics, game-level’s structural design, response/event triggers, game-state dynamics and

decision responses [10]. Further for the analysis, Katie Salen and Eric Zimmerman’s work (Rules

of Play, 2004) exclaims [11], rules, goals and mechanics to be the primary gameplay components,

hence these ludic elements were levied and compare with the narrative components.

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Rules are components in gameplay which associates the in-game behaviors of

characters/agents and are written in way by the developers such that, players can’t execute

commands beyond these postulated frameworks. As said in Rules of Play [11], Rules are explicit,

fixed, binding, repeatable and embodies the formal structure of the games.

Goals are framed to help garner the player’s interest and create a sense of purpose to the

narrative. It sets what a player can perform and what are the consequences for the concerned action

to the narrative [11]. When visualizing it through the narrative’s lens these goals set in each level

of the games, will create an impact not only on the progress of the game but also, create reflective

elements carried on to the real world.

Mechanics are primary elements which brings in the interactivity component, they receive

physical feedback (by press of a button or analog movements) which is wirelessly and

electronically transmitted into manipulation of the characters/environment/agents inside the game.

Further, [10] references gameplay mechanics to be black boxes, where players give inputs and

react with other elements in the game-level to provide a reaction, outputting a corresponding

change to the state of the black box, thereby linking it with all other black boxes causing a chain-

reaction.

Figure 3: Game mechanic's chain reaction [10]

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On referring (Figure 3) we understand, games are designed in a fashion to receive player centered

feedback signals (inputs) engaging them, to output chain of output signals, triggering in- game

manipulations.

2.4 Immersion in Games

Immersion is developed when the player feels engulfed into the constructed narrative and

gameplay mechanics, while playing the game. Further, Coleridge [12] exclaims that immersion is

perceptive involvement of the player in the fictive space created. Further, Taylor [13] emphasizes

immersion has two types, diegetic (immersion achieved through gameplay) and intra-diegetic

(immersion achieved through story). Additionally, from Tanskanen’s [14] Immersion Venn

diagram, we can deduce the elements required for the player to achieve immersion while playing

a videogame and is displayed as in (Figure 4).

Figure 4: Achieving immersion in Videogames [14]

Immersion can be achieved blending psychology, storytelling and game design together, where

the player relates both the game and their life.

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2.5 Achieving balance between story and gameplay

[15] Games were designed previously with the trend (pre-cutscene era) to immerse the

players through game metrics and mechanics. Additionally, current trends (with evolving graphics

and growing demand for story-oriented games) suggests that story is added into the game, acting

as an augmenting mechanism. However, inducing cutscenes just for the sake of providing

conversation, impacts the interactivity level of the player by curtailing gameplay. Hence, both story

and engagement are treated as independent devices engulfing the overall core motive behind the

game’s creation. Having said that, game designers are trying to balance the Ludo-narrative

dissonance (drift created between narrative in gameplay and gameplay in narrative) while creating

games, with player’s mindset in comprehension. One such games to achieve a perfect blend of

both these elements is ‘Bioshock’, where Onyett [16] in his review, acclaimed the convergence of

engaging gameplay mechanism with the ominous plotline, inclusive of various characters. Further,

research by [17] suggests that, incorporating narrative in games increases the player’s emotional

attachment on the game world, thereby inducing repeatability in playing of the game. Literature

Review

3. Methodology

[11] For this research, three qualitative analysis methods (Case Study, Formal Analysis and

Close Reading) are combined as a mixed model and analyzed on Uncharted 4. The mixed models’

approach is chosen to understand on how narrative and gameplay co-exist in a story-driven game.

Additionally, research [25] suggests that, game-studies have developed in such a way that, it

requires multi- and inter-disciplinary collaboration, as it is now being considered as an art with

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many disciplines. Further, this section will give a brief on the individual models and how they will

be implemented.

3.1 Case-Study

Case Study is described by Creswell [26] as a method where the reader explores a

constricted system over time, conducting an in-depth analysis on it, collecting data based on the

case theme and description. Further, case study is often criticized when it is researched on just a

sole subject (Uncharted 4) for addressing an issue (minimizing the Ludo-narrative dissonance), as

it might lack context outside its scope. However, case study is a good generalizing agent, which

can be used as an initiator for other data collection and analysis. Likewise, Remenyi [27] writes,

case study asks very important research questions depending on the context, which is derived from

various resources. Thus, case study acts as a good starting model, to build on the other two models.

The Case study consists of playing Uncharted 4 multiple times and watching official

reviews/walkthroughs, analyzing the narrative devices and gameplay devices used in Chapter:11

Hidden in Plain Sight (Uncharted 4). The entire narrative architecture for the game is considered

and then research is conducted on one chapter, to comprehend on the nature of merging both the

devices, which can be scaled to all the other chapters.

3.2 Formal Analysis

The outputs of case-study research are gameplay and narrative artefacts, which consists of

detailed analysis on the chapter, considering various perspectives on it and with numerous

iterations into playing the chapter. Further, Lankoski and Bjork [28] exclaim, formal analysis as a

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research, which considers each artefact and its elements closely, forming relations between them.

Additionally, Fernandez-Vara’s [29] research suggests that, formal analysis can be split into two,

formalist (explores textual data) and structuralist (explores mathematical data). However, in this

research’s scope formalist approach is chosen for analysis, and [29] defined it in terms of

videogame’s perspective as, an approach to study the game’s components (rules, gameplay

components, control schematics) along with the interfacing component (interfacing design,

narrative, visual architecture).

The research was conducted by considering the artefacts for narrative devices (Dialogues,

cutscenes) and analyzed by using two formalist-based qualitative analysis methodology (i)

Searle’s Speech Act theory and (ii) Jarvinen’s six types of game rhetoric. Where, Searle’s

approach [30], analyses the narrative devices based on its implications to the context, by

classifying it to the 5 elements (Assertive, Commissive, Directive, Declarative and Expressive) and

Jarvinen’s approach [31], focuses on how gameplay devices are linked to the narrative devices, by

framing the contextual situation into 6 categories (Gratification, Motivation, Goal, Means,

Feedback, Outcome). Further, gameplay devices (rules, gorals and mechanics) were individually

analyzed and related with narrative parallelly and were framed as artefacts.

3.3 Close Reading

Formal analysis outputs two forms of artefacts from gameplay and narrative devices, which

is further analysed by using Close Reading. Where, Bizzocchi and Tanenbaum [32] describes it as

detailed analysis on these artefacts, to study on how immersive the content is, on repeated view.

Further, they add on stating that, these artefacts are comprehended for how they manifest the player

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in understanding the decision-making component in the game/level. Close Reading gets an overall

idea on how these artefacts can be diversified in its application.

4. Narrative and Gameplay Analysis on Uncharted 4

Passive introduction of narrative elements into videogames ever since from its creation,

has proven benefits more than hinderance, by initiating a sense of immersion. Consequently, this

study investigates on how narrative blends well with other game design components and on how

other agents imparts and reacts with one another.

The videogame (Uncharted 4) was analyzed by studying its narrative implications

(dialogues and cutscenes) and gameplay components (rules, goals and mechanics) by continuously

playing the game’s chapter 11 (Hidden in Plain Sight). It took around 54 minutes to 73 minutes to

complete the chapter, with a total gameplay/narrative time of 188 minutes to play by myself.

Further, to understand the game through various perspectives, game walkthroughs by TmarTn2

[33], Trophygamers [34] and IGN [35] were researched which accounted for a total runtime of 176

minutes in whole.

This section of the report consists Firstly (Section 4.1), case-study and overview on the

events that happen in Chapter:11 Hidden in Plain Sight. Secondly (Section 4.2) discusses about

storytelling elements in the chapter along with its link to core plot elements inclusive of the

narrative. Thirdly (Section 4.3) discusses the game’s design elements and gameplay’s interfacing

elements included in the game, and also on how it causes immersion.

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4.1. Case Study on Uncharted 4 (Chapter 11: Hidden in Plain Sight)

This chapter introduces the characters Nathan Drake (Nate) and Victor Sullivan (Sully) into

a sequence (cutscene) where they enter into the market and with passive dialogues, prompting the

player to head to the clock tower (in which Nate believes they can obtain the clue to find Avery’s

treasure). The player is given control to navigate through the market interacting with non-playable

characters, helps in creating realistic conversations. The (Figure 5) shows Nate navigating through

the market, towards the tower.

Figure 5: Navigating through the market [35]

Nate and Sully reach the tower and found it to be locked. Sully helps us (through dialogues) by

guiding us to enter the tower through an alternate entrance. Nate and Sully enter the clock tower

and enter the lair where the zodiac puzzle exists, which can be viewed as shown in (Figure 6)

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Figure 6: Nate encounters clock tower puzzle [35]

The puzzle can be solved with the help of Nate’s journal (gameplay mechanic) and sully (through

his narrative cues). The clock tower puzzle consists of 4 lever mechanisms to be turned in a certain

order to progress further in the game. The Journal guiding the player is shown as in (Figure 7).

Figure 7: Journal guiding Nate in solving the clock tower puzzle [35]

The player is constantly given feedback on the progress of completing the pearl (clock tower

puzzle) by Sully. Once all levers are turned, the bell from the top of the clock tower, breaks down

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to create a hole in the ground, creating a passage to another room. Nate and Sully will enter this

room (Minor cutscene). This room will consist of a wheel mechanism, having Henry Avery’s and

Thomas Tew’s sigils on it (whose treasure Nate & co are seeking to obtain in this game). Nate will

have to turn the sigil-marked squared block on the puzzle mechanism, to open up 3 rooms,

consisting of 10 other pirate’s portraits, where the player will have to identify clues from that. The

player is prompted/guided by narrative (where Nate calls/texts Sam (Nate’s brother), to get advice

on solving the puzzle). The founder’s wheel mechanism is shown as in (Figure 8).

Figure 8: Founder wheel's mechanism [35]

Nate turns all the blocks and calls Sam to convey the ‘Clue to Avery’s treasure’, but Rafe (a former

adversary of Nate & Sam’s) interrupts the call and intimidates Nate and Sam to stay away from

the treasure and is shown in a cutscene, chasing Sam. Nate and Sully rush out of the clock tower,

entering the market again, where they are confronted by Rafe’s men. The player uses the game

mechanics (guns, bombs) to take care of them and is also guided by the narrative (parallelly by

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Sully to avoid certain gameplay events), to progress to the next linear set of events in the plot.

Subsequently, Nate enters a car and drives towards the tower (where Sam is presumed to be), in

this process, they are chased by a menacing truck (driven by Rafe’s men). Escaping the truck is

properly constructed in such a way that the player is given an immersive experience of having the

entire environment to navigate (developer creates an immersive open-world illusion), but in turn

is driving the car in a structured path towards achieving the game-events created by the developer.

A part of chase sequence is shown as in (Figure 9).

Figure 9: Car chase sequence [36]

The player reaches the tower and spots the chasing convoy (chasing Sam). The player is then given

a great gameplay experience, where Nate jumps from one vehicle to another, using variety of

gameplay mechanics (guns, bombs, close-combat punches), progressing linearly in terms of

narrative, with dynamic manipulation of the gaming events that is happening in the sequence. The

chase sequence can be seen as in (Figure 10) and (Figure 11).

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Figure 10: Manipulatable character during chase sequence -I [36]

Figure 11:Manipulatable character during chase sequence -II [36]

The sequence ends when Nate reaches Sam in front of the convoy chase and gets on the bike Sam

is driving. They are chased by a truck, where a cutscene sequence merged with gameplay

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mechanics, engrosses the player into the sequence. Finally, the player is driven by a cutscene into

the next pearl, where a major cutscene leads the narrative into next phase (Act -III).

4.2. Narrative in Uncharted 4 - chapter 11

Narrative elements utilized in the game is connoted as narrative devices and includes

Dialogues and cutscenes. Individual devices are analyzed by using formal analysis methodology,

Searle’s Speech Act theory [30] and Jarvinen’s six types of game rhetoric [31]. Various patterns

incurring in the plot is investigated for this chapter, to understand on how narrative is incorporated

in a story-driven game. Further, section 4.2.1 discusses about the narrative architecture used in the

game, where Section 4.2.2 analyses about the dialogue/cutscenes devices used in Chapter 11.

4.2.1. Narrative Architecture used in the game

The narrative architecture used in videogames are very similar to narrative in films/arts,

with only difference that, in videogames the players are part of the story. Uncharted 4 follows 4-

Act narrative structure, which allows a structured build-up, with sequential changes to the plotline,

without deviation from the crux of the story. Amazingly, the major plot events in the storyline are

not dynamic and won’t depend on the choices the player makes, yet it engages the player with

proper correlation of it with gameplay devices. Additionally, (Table 1) describes the

4-act architecture’s structure and its embodying narrative constituents (plotline triggers for the

entire story).

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Act Act Elements Description Act Elements in Uncharted 4

Act I (Setup

and

complication)

Hook

This will induce a reaction

amongst the audience, by

imploring more on towards the

character development of your

key players. Focus more on the

effect and make players care for

the ‘hook’.

The Hook created in Uncharted 4

upon starting the game is ‘Nathan

Drake’ and ‘Sam Drake’ are

driving (in a boat) towards an

island, being chased/assaulted by

a group (in boats). The Hook is

created when the boat is

damaged/capsized. (prologue)

Inciting Incident

After setting up the world, create

a ‘turning point’, which will

cause a problem which will

reengage the players, by creating

a change. Inciting incident causes

way and provides an instigation

for the first plot point to happen.

The past story in which the both

the boys stay in St. Francis

orphanage and the incident of

breakout, followed by a

transitional skip to breaking into

jail (Panama) to

find/investigate/explore on the

treasure left by Henry Avery

worth 400 million with the help

of Warden Vargas and another

member ‘Rafe’, where they find

St.Dismas idol (crucifix). In turn

of events, they end up killing

Vargas (Rafe kills him by

stabbing) who wanted a cut in the

treasure, followed by escaping

from the prison, during which

Sam was deemed to have died.

(Chapter 1 – 2)

First Plot Point

Signals end of first act and raises

a question, which needs to be

addressed in the climax. The

question needs to be unique,

which will allow you to narrow

you onto the next story arc.

The Plot then transitions to show

the main characters normal life

with a salvage company and,

routine life with his wife Elena.

Further, one-night Sam returns

and tells Nathan the story of his

escape and his acquaintance with

a drug lord (Hector Alcazar) who

helped him escape a prison, who

threatens Sam if he doesn’t find

and give the treasure within 3

months, in which Nathan then

agrees to help Sam finding it,

lying to Elena. (Chapter 3 -5)

Act II (Conflict

and Rising

action)

Pinch

Pinch points are where the

pressure amps up and creates a

halfway in the second and third

act. Pinches helps in creating

‘audience re-focusing element’,

towards the next plotline.

Upon finding the location of the

treasure to be in the Henry’s

grave, the crew along with an old

friend of Nate’s (Victor Sullivan),

travel to Scotland. Further,

digging deep, the crew found that

Avery was hiring other pirates for

something and had narrowed on

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to a location ‘Libertalia’, but

before leaving to the location,

Elena confronts them and is

sad/infuriated on not filling in on

her and not telling her about his

(Nate’s) Brother. While hearing

this news, Nate declines to go

with Elena and tells Sully to take

Elena back home and moves

ahead with Sam to the libertalia

island. (Chapter 6 -11)

Context shifting

midpoint

A big change occurs, in which the

actor tries something he had

trained or establishing a whole

new setup, which paves way for

the third and final act. (It happens

mostly in the middle of the story)

The story connects to the

‘prologue’ now and Nate crash

lands on the island with Sam,

both search for clues in the

island , towards the treasure

(Where they found that there was

a civil war between ‘founders and

Colonists’, after Founders kept all

the gold) and to safeguard their

treasure they moved it to other

side or Libertalia, New Davon.

(Chapter 12-14)

Act III (Crisis)

Second Pinch

point

Second challenge occurs, which

will shock the audience, making

the protagonist taking counter-

measures.

Where Sam reveals that there was

no ‘Alcazar’ and he had died 6

months ago. Where Rafe comes

suddenly and reveals that he had

freed Sam from the prison and

shoots a bullet at Nate. Sam

jumps in and gets shot, whereas

Nate falls from the cliff.

(Chapter 15)

Second plot

point

Setting up the climax, by setting

up something new and fresh,

which is not obvious, to hook the

players just before the climax.

A back story showing the

intentions and actual life story of

both the Drake brothers,

showcase the whole intent of not

only Uncharted 4 but pretty much

sums up the entire Uncarted

series. This when told by Nate to

Elena, didn’t want to hurt him

more by asking him about recent

events. Elena and Sully offers

help to Nathan to save Sam.

Working their way to New

Davon, they found that the

‘Founders quarreled amongst

themselves, where Avery and

Tew poisoned all others, taking

themselves the treasure. (Chapter

16-19)

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Act IV

(Climax)

Confrontation

and Falling

action

Reveal all the hidden elements

and the buildup, also induces an

unexpected shake up, showcasing

the need/ reason for the story

Arriving at the Avery’s ship in

the Cavern and saving Sam sums

up the story, ending in death of

Rafe and with partial help of

Nadine. (Chapter 20-21)

Ending shows the daughter of

Elena and Nathan (Living a

normal life in beach), viewing her

parent’s expeditions and

endeavors as explorers. (Chapter

22)

Table 1:4-Act structure explained [12]

Storyline follows the string of pearls [10] narrative model embedded with the 4-act

architecture in which, the ‘Acts’ define the major plot points in the whole story, which is

correspondingly linked with the concerned chapters (where the occurring events are properly

connected to the Acts). Further, these chapters consist of linear sequence of events (pearls)

connected by strings with proper logical flow, which can be viewed as in (Figure 12).

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Figure 12: Narrative Architectural model

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4.2.2. Narrative Devices

Narrative devices (Dialogues, Cutscenes) were researched based on utterances made by the

main characters between them, as well as to the other non-playable characters (NPCs). These

devices were researched by using formal data analysis methods, (i) Searle’s Speech Act theory

[30], which uses cause and effect theory on speech arts (where speaker ‘S’ causes situation ‘X’) is

learnt on the narrative devices (artefacts). They consist of 5 forms of narrative connotations linking

them with dialogues/cutscenes and they are:

• Assertive: Shows acts of confidence and command such as, suggesting, boasting,

concluding.

• Commissive: Committing the speaker to a future course of action, such as, promising,

planning, vowing, opposing.

• Directive: giving authoritative instructions such as, asking, ordering, requesting, inviting,

advising, begging and opposing.

• Declarative: Changes the state of the world, such as, a causing effect.

• Expressive: feeling exerted by the speaker on context to the situation, such as, thanking,

welcoming and apologizing.

The next type is Jarvinen’s six types of game rhetoric [31], which involves relating gameplay

elements with the narrative devices. It is widely used in ludology for expressing ludic elements

(gameplay mechanics) in terms of narrative. It has 6 types and it shown below:

• Gratification: persuading the player to keep playing and induces immersion.

• Motivation: motivate players into the desired role in gameplay.

• Goal: explains the game’s goals and engages the player into the game mechanics.

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• Means: interaction with player by means of gameplay agents.

• Feedback: informs the player on progress of the game

• Outcome: informs the player regarding an event’s end point inside each game sequence.

Dialogues are used in videogames when characters converse between them (Story-

oriented dialogues) or when the player is guided to perform any gameplay action (Gameplay-

oriented dialogues). In Uncharted 4, Dialogues are used under two perspectives, such as when

Nate narrates “Excuse me. Hey, here we go… Locked… I guess we’re gonna have to sneak in.”,

directs the player to take an alternative route, which is a gameplay-oriented dialogue. Whereas,

“Voicemail. Hey, Sam. Looks like we’re at the right tower Call us. They don’t have the best

coverage in this city.”, connects the story-element, by story-oriented dialogues. These elements

when combined and viewed from the player’s perspective, immersion occurs. Dialogues for

chapter 11, were obtained from game-scripts [37] and was inputted in the artefacts.

Cutscenes are another narrative facet used in videogames to engage players in two frontiers

(story and gameplay), where the shaky camera with an immersive handheld sequence of the

character agents moving in action sequence, gives the player a close connected feel on the events

occurring. Major cutscenes occurs in the narrative for providing character/environment

introduction (setting up the world or major plot changing events), whereas minor cutscenes occurs

when immediate transition is required from a gameplay mechanic to another event, i.e. connecting

various pearls together. Further, proactive cutscenes occur when interfacing gameplay mechanic

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to gameplay mechanic transition, bridging an immersive and engaging narrative content to hook

the players even more.

[11] The narrative devices used was researched by splitting it into two perspectives, one from

narrative’s point of view and other from gameplay’s point of view and the format is shown as in

(Table 2).

Device Description Narrative

component

Gameplay

component Example

Dialogues

Story: utterance

contributing to the

story/plot.

Assertive,

Commissive,

Directive,

Declarative,

Expressive

Gratification,

Motivation,

Goal, Means,

Feedback,

Outcome

“You really think

all that treasure

gonna be just

sitting in the

middle of a

goddamn

market?”

Gameplay: utterances

which acts as guides,

by framing

instructions.

“Ah. Hey, check

it out – that

window over

there is broken.”

Cutscenes

Story: occurs for

introducing/mediating/

concluding story

elements to the player.

Major/minor

cutscenes

Gameplay:

transitioning elements

interfacing game-

mechanics, with a

smooth blend.

Proactive

cutscenes

Table 2: narrative devices (artefact description) [11]

(Table 2) describes on how the formal analysis is going to be conducted and the analyzed

product is an (Artefact 1) for the research.

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4.3. Gameplay Devices

Gameplay is an interactive and interfacing device that physically and mentally engages

players to take part in the game and give inputs through a ‘press of a button’, which is translated

to manipulation of the character in the videogame. Uncharted 4’s gameplay is embedded in the

game’s narrative, where the player is guided to execute a set of game mechanics, to progress

linearly in the narrative. The game included ‘stealth mode’ and ‘driving mode’ which is new

installments in the overall series. The Uncharted series follows a ‘3rd person point of view’ camera

angle, is slightly innovated in Uncharted 4 by bringing the camera frame down a little (just above

the character’s shoulder), which provides more engrossing experience for the players. Gameplay

devices (Rules, Goals and mechanics) are experienced at a closer angle and has contextualized

meaning behind each sequential event. These gameplay events are linked together in specific

narrative pattern (guided by the plot) to form a co-existing medium, thereby forming ties between

each character in the story. Each element is individually identified and analyzed as an artefact, to

study on how the game minimizes the Ludo-narrative dissonance, through encompassing all the

elements together.

4.3.1 Rules

Rules form the boundaries of the game and instructs the players on how to finish a

chapter/game. They formulate constraints, in which the players can access only those contents in

the game-world established. For analysis purpose, uncharted 4 is considered to consist of 3 rules,

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navigate, explore and address challenges. Each of these elements consists of a narrative and

gameplay component to it and can be accessed by the player and can exercise it in multiple ways.

Firstly, navigate gives ‘start and end points’ defined by the developer for each pearl, and

the player can choose various methods/duration to reach the end point, upon entering the

navigation phase. For example, in Uncharted 4: Chapter 11, for the first pearl (Entering the market)

the ‘start point’ is in navigating through the crowd in the direction towards the clock tower and

‘end point’ is in reaching the tower by entering through an alternate entrance. However, certain

environmental challenges will hinder the pathway between these checkpoints and will vary

depending on the context of the game. Being smart on what game mechanics to utilize for

completing these tasks is essential to determine the ‘game-time’.

Secondly, explore makes the player take a non-linear route to obtain certain

utilities/equipment to reach or complete the task in hand. Further, exploring can be viewed through

narrative and gameplay’s lens, in which narrative-oriented exploring involves in gathering details

either information or supplies that are present part of the game environment created but not pivotal

to the plot, whereas, gameplay -oriented exploring involves in attaining an item or in performing

an action, to progress linearly in the game. This is an element where an open-world illusion is

created, which immerses the player in wanting more from the game.

Thirdly, to address challenges gives the player purpose for exploring. Players are often

obstructed in the flow of events; hence they will have to modify their approach towards solving

that task. When viewed from the narrative’s perspective challenges the player in completing the

sequence, to progress further. Conclusively, various rules and their descriptions are shown as in

(Table 3) and framed as the (Artefact 2).

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Rules Description Example

Navigate

Gameplay: moving in the environment created

from the fixed entry to the exit created.

Entering the clock tower,

turning the levers of various

zodiac signs in an order to

exit to the next pearl.

Story: Narrative inferences guiding the players

in completing the tasks within each pearl.

If pattern turned is wrong,

Sully prompts Nate to try a

different approach.

Explore

Gameplay: Searching the environment to find

utilities, which will help the player to progress in

story.

Finding supplies/guns, clues

for puzzles etc.

Story: helps player in gaining more insight

towards the events happening in the game.

Finding paper works of

ancient pirates to reveal the

plot even more.

Address

Challenges

Gameplay: Completing tasks to overcome

confronted problem, to progress in story.

Environmental, human,

puzzle.

Story: overcoming obstacles, so that characters

can be free of imminent threats. Environmental, human.

Table 3: Rules artefact description [11]

4.3.1 Goals

Goals are framed end-points or checkpoints, that the player reaches to measure the

progress that they have achieved in the game. The pearls in the chapter are linked by a start and

end ‘macro goals’ by series of ‘micro-goals’, where these are narrative-base goals. The micro goals

are interlinked by ‘moment-to-moment goals’, where these are gameplay-based goals.

Conclusively, the goals in the chapter and their descriptions are shown as in (Table 4) and it is

inputted as an (Artefact 3).

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Goals Description Example

Story-Oriented

Macro

Major plot event-based

goals, determining the scope for

the entire chapter.

Finding Clue about

Avery's treasure from one of

the towers in King's Bay

Micro

Objectives that needs to

be addressed to progress linearly

in the plot events inside pearls,

linking macro goals.

Solving the Zodiac

Puzzle

Gameplay-oriented

Moment-to-

Moment (M-t-M)

Detailed tasks which

interlinks the micro goals and

will mostly involve in solving

task-based gameplay events.

Turning the Scorpio

wheel

Table 4: Goals artefact description [11]

4.3.1 Game Mechanics

Game mechanics entails controlling of character (Nathan drake) to comprehend on his

character traits, movement logics and how he can manipulate the environment. The whole game

involves an engaged mechanism, in which gameplay components are linked with narrative medium,

which facilitates logic behind each move of the character. Character’s physical movements mimics

an actual human and embodies real world dynamics of human body. The character can be

controlled to run, climb, write notes in his journal, jump, and shoot weapon, thus pretty much like

a normal human. Naughty Dog (Production house of Uncharted Series) takes intricate details into

account and always have strived to harness the full potential of each gaming console, in terms of

rendering graphics.

Further, Gameplay components involve three main categories [11],

(i) Strategy, which has Stealth: a passive approach towards enemies, with a scope to

either kill or avoid them, Offensive: an all-out attack maneuver brining down

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enemies, Avoidance: where the character totally avoids combat and proceeds to

next phase, Navigate: this is when character has to move around the environment

to solve puzzle or find clues for next plot point.

(ii) Interactive Mechanism, which consists of Distance: which is by interfacing

both the strategy and utility the player chooses, the player stays at a certain distance

and engages in combat, Hand-to-Hand: which involves exchanging physical

punches with enemies, Vehicle: where the player drives a car part of a chase or as

exploring mode, Puzzle: this involves the player solving various puzzles involved

in narrative.

(iii) Utilities: which consists of Guns: there are variety of guns ranging from pistols,

sub-machine guns, assault rifles, sniper rifles, shotguns to utilize in the game,

Bombs: the character utilizes frag grenades, which explode after pulling the trigger

pin with a offset timer, Journal: this is a personal log maintained by Nate

throughout the series, which guides him whenever he is stuck in the game.

Conclusively, the game mechanics in the chapter is analyzed as an (Artefact 4).

5. Emergent analysis of the artefacts in minimizing Ludo-narrative dissonance

All the artefacts (Formal analysis) from both paradigms (narrative and gameplay) are

considered segment by segment in accordance to the time-scale for the Chapter:11, i.e. from

starting of the chapter till the end of it. Subsequently, each element in the chapter is aligned in the

same (String of pearls model) structure, with each event is caused by an action and leads on to

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another set of action-event scenarios, but is linked in a branching fashion (i.e. each event is not

independent of themselves but linked to each other in order of time , within/between chapters).

Further, this research studies on the player’s impact on the game as well, such as their contribution

in terms of construction of events in the game.

‘Coding methodology’ is proposed in this research, which acts as a pseudocode for

developers/game enthusiasts to view the development of immersion in narrative-oriented

videogames. Further, this process is achieved by taking the individual devices and framing short

codes, and sequentially arranging them based on the time-space of the events occurring in the

chapter. Below is given an artefact (Emergent_Narrative_Architecture_Chapter 11, Artefact 5) in

(Table 5).

Emergent - Narrative Architecture (Hidden in Plane Sight)

Content Type of Content

Description Code

Minor Cutscene

Narrative Devices

Panning the camera showcasing the view of Pirate's Bay and the market, where Nate and Sully enters.

MinCs

Navigate Rule,

Mechanics Enter the Market and walk towards the tower N

Story world

Dialogues

Narrative Devices

Conversation between Nate and Sully on their previous endeavors and also with game agents in the market.

swD

Explore Rule Proceeding in the direction of tower, Nate and Sully moves through the crowd, thereby interacting with various NPCs.

Ex

MICRO GOAL 1

Gameplay Dialogues

Narrative Devices

Upon reaching the tower, the tower's front door is locked. Sully guides (redirects) the player through dialogue.

gpD

Major Cutscene

Narrative Devices

Nate and Sully enter the clock tower and visualizes the Zodiac puzzle in hand.

MajCs

Navigate Rule,

mechanics Move around clock tower N

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Viewing Journal

Mechanics Making notes in Nate's journal and helps the player in solving

the puzzle VJ

Explore Rule interact with the levers to activate each zodiac puzzle's elements

based on the right pattern. Ex

Address Challenges

Rule Need to activate all the zodiac symbols by ringing the

corresponding bells in a order. AC

Minor Cutscene

Narrative Devices

Upon completion of the puzzle, the giant bell at the top falls and breaks down the ground, leading to another room.

MinCs

MICRO GOAL 2

Minor Cutscene

Narrative Devices

A cutscene showing the founder's wheel and gives the player visual cues on the task ahead.

MinCs

Puzzle Mechanics Aligning the pirate sigils in a specific pattern to open the gates

(containing clues for more pirate sigils) Pz

Viewing Journal

Mechanics Viewing the journal, player can rotate sigils in accordance. VJ

Gameplay Dialogues

Narrative Devices

Guiding the player when the protagonist (Nate) is unsure of sigils. (i.e. calling/texting Sam to get insight on sigils).

gpD

Major Cutscene

Narrative Devices

Reveal that Rafe and his men are after Sam and hence Player is driven to that action.

MajCs

MICRO GOAL 3

Navigate Rule,

mechanics Nate and Sully re-enters the market and views the burning

tower. N

Gameplay Dialogues

Narrative Devices

Sully insists not to focus on damaging the truck, as it cant be armed.

gpD

Avoidance Mechanics Avoiding the tank and getting in the car after killing Rafe's initial

men A

Offensive, Guns

Mechanics Nate fights Rafe's men using guns O, G

Vehicle Mechanics Driving the car towards the tower avoiding truck V

Gameplay Dialogues

Narrative Devices

If straying away the mission using the car, Sully instructs to stick to the mission

gpD

Address Challenges

Rules Reaching the tower to view Rafe's men chasing Sam AC

MICRO GOAL 4

Vehicle Mechanics Jump from vehicle to vehicle to clear enemies and progress

further towards Sam V

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Offensive,

Guns Mechanics Shooting Rafe's men with guns. O, G

Minor Cutscene

Narrative Devices

Upon reaching Sam, They both escape in the same car agasint a chasing truck.

MinCs

Guns, Vehicle

Mechanics Shooting the truck while its chasing G, V

Major Cutscene

Narrative Devices

A cutscene were Sam and Nate combne to bring down the truck and head to the Ikopa Motel.

MajCs

Address Challenges

Rules Bringing down the truck and heading towards the motel AC

MICRO GOAL 5

Major Cutscene

Narrative Devices

A major clue is deciphered by Nate to Sam and Sully, where he is also confronted by Elena, where the plot takes a turn.

MajCs

Table 5:Emergent narrative architecture artefact

Further, these codes are represented using a ‘play-pattern pseudocode’ (named for this research),

arranging them in the order, based on the events in the chapter, and is given below:

UNCHARTED 4 (Chapter 11: Hidden in Plain Sight)

1. MinCs

2. N, swD, Ex

3. AC

4. gpD, MajCs, N, VJ, Ex, MinCs, Ex, MinCs, Ex,

swD, Ex, MinCs, swD, Ex, MinCs, N, AC, MajCs

5. swD, gpD, MinCs, Pz, Ex, VJ, Pz, gpD, Ex, gpD,

swD, gpD, VJ,

Pz, swD, gpD, VJ, Pz, swD, gpD, AC, MajCs,

6. N, gpD, O, G, A, MinCs, V, swD, gpD, AC, MajCs

7. MajCs, O, (V,G - loop), MinCs, G, AC, MajCs

8. MajCs

9. Macro Goal

Table 6: Play-pattern pseudocode artefact

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The play-pattern shown here might vary from player to player, because of the dynamism involved

in using game-mechanics. However, the plot won’t change and hence the experience/immersion

felt will be the same. Immersion can occur in multiple forms and in multiple ways, the pattern

shown in (Table 6) shows one-way of it occurring and with multiple iterations can lead to a ‘robust

code’, ensuring repeatability in audience, in playing the game. The way of coding behavioral logic

is one way of understanding the player’s role in being part of the game and recursive patterns, will

ensure that the player likes to get engaged in a certain pattern. This effectively causes an active

relationship between the player and game, as he/she is taken into a journey of the character’s

through the narrative, by keying in gameplay logic to the system, relating their own personal

journeys.

6. Conclusion

Before the arrival of the narrative-oriented videogames, engagement was considered

primary amongst game developers, whereas narrative was left only to convey the story, with no

interactivity between them. Trends changed when players demanded more from videogames, with

advent of narrative/story into video games, from early 1980 to 1990s (from Final Fantasy to

Wolfentstein 3D, DeusEx, System Shock), videogames have evolved with narrative being an

important part in the development. With this emerging trend, developers considered each element

separately and there existed a gap, which needed to be addressed. That gap (having too much

narrative in gameplay or too much gameplay in narrative), in research terms, was defined as ‘Ludo-

narrative dissonance’, which even today, developers and top-gaming companies are trying to

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minimize and find the proper balance. This study, analyses narrative-oriented videogame

(Uncharted 4) by considering narrative and gameplay, from player’s lens and in developing

artefacts (detailed study items) for each of the gaming paradigm and deriving its links. Further, the

research proposes a pseudo-code ‘play-pattern pseudocode’, which is an agent of immersion, as it

maps individual elements occluding in the game and mapping it into a linear set of events.

Conclusively, developers will need to take players into account while designing a game,

considering which factors will instigate immersion and which wont and can ‘code’ elements

together to understand on its impacts (visualization aid), when playing a game.

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References

[1] M. Crumpton, J.H. Murray, “First person: New media as story, performance, and game” Mit

Press, 2004.

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