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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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