Pacing in Adventure Games

Bachelor Thesis

submitted for the academic degree of Bachelor of Science (B.Sc.) in Media Systems

Bent Nürnberg

1935291

First Examiner: Prof. Gunther Rehfeld Second Examiner: Prof. Wolfgang Willaschek

Hamburg, 23 September 2016

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Hochschule für angewandte Wissenschaften Hamburg Hamburg University of Applied Sciences Department Medientechnik Department Media Technology Fakultät Design, Medien und Information Faculty of Design, Media and Information

English: Declaration of Authorship

I hereby declare that the thesis submitted is my own unaided work. All direct or indirect sources used are acknowledged as references.

I am aware that the thesis in digital form can be examined for the use of unauthorized aid and in order to determine whether the thesis as a whole or parts incorporated in it may be deemed as plagiarism. For the comparison of my work with existing sources I agree that it shall be entered in a database where it shall also remain after examination, to enable comparison with future theses submitted. Further rights of reproduction and usage, however, are not granted here.

This paper was not previously presented to another examination board and has not been published.

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Table of Contents

1 Abstract ...... 7

2 Introduction ...... 8

2.1 The Research Question 8

2.2 Tension and Release 8

2.3 Pacing 9

3 Methodology ...... 10

3.1 Preparation 10

3.1.1 Recording Video Footage 10

3.1.2 Specification of Gameplay Categories 11

3.1.3 Creating Pacing Charts 12

3.1.4 Creating Pacing Graphs 13

3.2 Analysis 15

3.2.1 Pacing Chart Analysis 15

3.2.2 Pacing Graph Analysis 16

4 Game Analysis ...... 17

4.1 Assassin’s Creed: Brotherhood 17

4.1.1 Pacing Charts for Assassin’s Creed: Brotherhood 18

4.1.2 Pacing Graph for Assassin’s Creed: Brotherhood 20

4.2 Tomb Raider 21

4.2.1 Pacing Charts for Tomb Raider 22

4.2.2 Pacing Graph for Tomb Raider 24

5 Interpretation ...... 25

6 Conclusion ...... 27

6.1 Limitations and Possible Future Improvements 27

6.2 Qualifying Good Pacing 29

6.3 Developing Good Pacing 30

6.4 Final Words 31

7 Bibliography ...... 32

8 List of Figures ...... 33

9 List of Tables ...... 35

10 Appendix ...... 36

10.1 Assassin’s Creed: Brotherhood 36

10.1.1 Timestamps 36

Sequence 1 – Peace at Last 36

Sequence 2 – A Wilderness of Tiger 37

Sequence 3 – The Fighter, The Lover and The Thief 37

Sequence 4 – Den of Thieves 37

Sequence 5 – The Banker 39

Sequence 6 – The Baron de Valois 39

Sequence 7 – The Key to the Castello 39

Sequence 8 – The Borgia 40

Sequence 9 – The Fall 41

10.1.2 Pacing Charts 42

Sequence 1 – Peace at Last 42

Sequence 2 – A Wilderness of Tiger 42

Sequence 3 – The Fighter, The Lover and The Thief 42

Sequence 4 – Den of Thieves 42

Sequence 5 – The Banker 42

Sequence 6 – The Baron de Valois 43

Sequence 7 – The Key to the Castello 43

Sequence 8 – The Borgia 43

Sequence 9 – The Fall 43

10.2 Tomb Raider 44

10.2.1 Timestamps 44

Mission 1 – So it begins 44

Mission 2 – Force of Will 44

Mission 3 – Signs of Life 44

Mission 4 – Woman versus Wild 44

Mission 5 – Just keep moving 44

Mission 6 – At an Impasse 44

Mission 7 – Mountain Rendezvous 44

Mission 8 – Cry for Help 45

Mission 9 – A Road less travelled 45

Mission 10 – Guilty Conscience 45

Mission 11 – Another fine Mess 45

Mission 12 – A Friend in Need 46

Mission 13 – Open Wounds 46

Mission 14 – Highway to Hell 46

Mission 15 – Liberator 46

Mission 16 – No One left behind 46

Mission 17 – Into the Fire 46

Mission 18 – Get to the Chopper 46

Mission 19 – Some Time alone 47

Mission 20 – Fast Way down 47

Mission 21 – A Pirate’s Life 47

Mission 22 – Gone missing 47

Mission 23 – Storm Chaser 47

Mission 24 – Going back in 47

10.2.2 Pacing Charts 48

Mission 1 – So it begins 48

Mission 2 – Force of Will 48

Mission 3 – Signs of Life 48

Mission 4 – Woman versus Wild 48

Mission 5 – Just keep moving 48

Mission 6 – At an Impasse 48

Mission 7 – Mountain Rendezvous 49

Mission 8 – Cry for Help 49

Mission 9 – A Road less travelled 49

Mission 10 – Guilty Conscience 49

Mission 11 – Another fine Mess 49

Mission 12 – A Friend in Need 49

Mission 13 – Open Wounds 49

Mission 14 – Highway to Hell 50

Mission 15 - Liberator 50

Mission 15 – No One left behind 50

Mission 17 – Into the Fire 50

Mission 18 – Get to the Chopper 50

Mission 19 – Some Time alone 50

Mission 20 – Fast Way down 50

Mission 21 – A Pirate’s Life 51

Mission 22 – Gone missing 51

Mission 23 – Storm Chaser 51

Mission 24 – Going back in 51

10.3 Digital Copy and Backup Material 52

1 Abstract

Pacing is seen as an important, if not the most important factor in video games.1 To understand the me- chanics of pacing, one has to understand the principle of tension and release in games; and in comparison, in other media such as films and television series. Based on this knowledge, this thesis tries to answer the questions of how to qualify good pacing and how to achieve it as a developer. Therefor the two third-person action-adventure computer games Assassin’s Creed: Brotherhood 2 and Tomb Raider 3 are analyzed.

In this thesis, the two examined games are compared by breaking down the gameplay progression into their distinctively gameplay categories and by assigning scores to these categories based on their tension and tempo. Subsequently, this information is used to create graphs of the games’ pacing. Furthermore, the two pacing graphs are compared to each other and examined in greater detail. Finally, possible future improve- ments and an approach for developing pacing for games are suggested.

1 For further details, refer to section 2.3 Pacing. 2 2011, Ubisoft Montreal, published by Ubisoft. 3 2013, Crystal Dynamics, published by Square Enix. 7 / 52 2 Introduction

In the introduction, the question of this thesis will be presented. Subsequently, important underlying terms such as tension, release and pacing will be clarified. Finally, the role of pacing in games will be further examined.

2.1 The Research Question

For many people, video games are great “fun”, but what makes them fun? And what distinguishes good (fun) games from bad ones? One possible factor is “pacing”, which has already been discussed in earlier works. Both Rehfeld4 and Schell5 comment on the importance of good pacing, but leave open the question of what determines good pacing.6 This restriction of earlier works leads to the focus of this thesis. Thus, the questions to be answered are how to recognize good pacing and how to achieve it. It was determined, that this concept can be examined best with actual games and, more precisely, actual single player games. Consequently, two comparable games of the action-adventure genre were chosen. In summary this leads to the following question for this thesis:

Pacing in third-person action-adventure computer games – How to qualify good pacing and how to achieve it?

2.2 Tension and Release

In order to answer the questions developed above, it is important to understand the nature and composition of pacing. Basically, pacing can be explained by the occurrence of tension and release in an alternating way. However, how are tension and release defined? The following paragraphs will go into detail regarding these two terms:

John Rose states in his article,7 that “tension and release form a cornerstone in all branches of art.” Further- more, he claims that “tension is a must-have in any artistic experience. People absolutely need it in order to enjoy a film, book, or game.” These statements show that tension is considered to be the single most char- acteristic of an enjoyable game, which leads to the following question: How can tension be characterized?

4 (Rehfeld, 2016), Fragment 06: “The right pacing/rhythm has to be established.” and Fragment 09: “A well designed game makes the player want to dwell in an atmosphere, a certain feeling towards the progress, a rush, an exciting, thrilling experience; all of these in the right rhythm, with just the right pacing.” 5 (Schell, 2008), p. 122: “This cycle of “tense and release, tense and release” comes up again and again in design. It seems to be inherent to human enjoyment.” 6 For further details, refer to section 2.3 Pacing. 7 (Rose, 2010). 8 / 52 As Rehfeld8 mentions, the concept of tension “connote[s] a wide field of meaning.” Following his line of thought, people “have to encounter an occurrence” for tension to arise. He states, that “any game-object has the potential to excite the player” and that “any balance settles between two poles, the principle that makes any potential possible. Any potential contains the possibility of increasing tension, that is based upon the difference of these poles.” He concludes, “that tension 1) needs at least two related poles. For example, two elements in a game or a relation between the game and the player. 2) Through their interaction these poles may realize the potential that lies in them,” and therefore increase tension. This leads to how the author defines tension and release in the following elaborations of this thesis:

Tension is what arises, when the intensity of the interaction between the player and the game in- creases. Release is the decrease of this intensity.

However, other definitions of tension can be found in the literature. For example, Mark Davies9 determines the different elements of pacing as movement impetus, threat, tension and tempo. The latter is described as the level of actual action. When combined with movement impetus – “the will of the player to move through the level” – it can be understood as tension in the way used it is in this thesis. Tension, on the other side, is described by Davies as “the atmosphere and mood of the level or perceived danger which is reflected in the player.” While this is not wrong, it looks at tension from a different, dramatic perspective. As this thesis is about the pacing of the gameplay and not the dramatic structure, this definition will not be considered further.

2.3 Pacing

Based on the understanding of tension and release as the different elements of pacing, pacing itself can be examined further. Gunther Rehfeld states in his paper,10 that „the succession of game-loops evokes events, that with their ups and downs define the pacing of a game.” These ups and downs can be seen as tension and release. Jesse Schell uses the terms of tension and release when describing the “flow” of a game. Ac- cording to Schell, on the one hand, too much tension leads to exhaustion. On the other hand, too much relaxation – or release as used in this thesis – leads to boredom.11

These explanations of both Rehfeld and Schell show that pacing can be understood as a series of ups (ten- sion) and downs (release) of game loop events. Furthermore, Rehfeld states, that “in the permanent succes- sion of elements a game is built around, forming a continuous game loop, the designers task is to keep the

8 (Rehfeld, 2016), Fragment 03 Concept Tension. 9 (Davies, 2009). 10 (Rehfeld, 2016), Fragment 08. 11 (Schell, 2008), p. 122. 9 / 52 audiences interest on a high potential. The right pacing/rhythm has to be established.”12 Hence, it can be concluded, that pacing is not only the repetition of tension and release, but also the rhythm of the alternation of those two.

If one takes into account the importance of tension and release for any media and the fact, that pacing itself is composed of tension and release, one can conclude the following: Pacing is the single most important characteristic of a game. 3 Methodology

This section deals with the methods used for data collection and data preparation prior to the analysis. Furthermore, it is described which steps were undertaken for the analysis itself.

3.1 Preparation

First of all, video footage needed to be procured in order to examine it. Hence, the first step was to play the games and record the gameplay at the same time. Afterwards, the gameplay was divided into gameplay categories based on four different criteria. Subsequently, the video footage was subdivided into intervals and a gameplay category assigned to each of them. The next step was the visualization of these intervals in pacing charts. The creation of the pacing charts is based on Filip Coulianos’ article.13 In order to create pacing graphs, each gameplay category was assigned a score reflecting the tension or release of the gameplay. The pacing charts and pacing graphs form the foundation of the analysis conducted in the next section.

3.1.1 Recording Video Footage

As mentioned above, the first step was to record video footage of the examined games. These videos capture the game from the first to the last mission. However, they are limited to the main story. Thus, side missions and menus were often not recorded, or if they were, they were skipped in the later study and not included in the analysis. Furthermore, partial intervals were re-recorded or skipped to exclude distractions or player failures. This was done to minimize the impact of the individual player. The goal was to “create the pro- gression from the view of the ‘ideal player’”, like Filip Coulianos suggests in his article.14

12 (Rehfeld, 2016), Fragment 06 The Player – Intensity. 13 (Coulianos, 2011). 14 (Coulianos, 2011), Final Words. 10 / 52 3.1.2 Specification of Gameplay Categories

As mentioned before, the pacing charts are based on the different gameplay categories in the examined games. Consequently, after recording – and therefore playing – the games, they were analyzed for common similarities in gameplay. The most obvious similarity was the movement of the player. In both games, the player moves through the game world with varying speed. In Tomb Raider, the character – Lara – can walk, run or slide down a zip-line. Ezio and Desmond – the two playable characters in Assassin’s Creed: Brotherhood – can both walk and run while Ezio is also able to ride a horse. To be able to move or to do something else, the player needs control over the character, which is not always the case, for example during cinematics. The next similarity is the occurrence of enemies in different quantities. Another important similarity is, that the player is put under pressure in certain situations. These include running away from fire or chasing some- one without losing him. In every escape case, standing still or moving too slow results in failure or death.

In order to examine the gameplay, four criteria were used to develop different gameplay categories. These criteria and categories are specific for the two games Assassin’s Creed: Brotherhood and Tomb Raider or games, which are very similar. They could – for example – be used for other games of the Assassin’s Creed series or the Sequel of Tomb Raider: Rise of the Tomb Raider. Other games most certainly have to be subdivided into other categories by other criteria.15 The criteria are:

 Speed: How fast is the player moving through the level? Medium speed is hereby the normal movement speed of the player and high speed a faster way of travel. Low speed is movement, which is interrupted by standing still for a moment.  Control: Does the player have control over the character or not?  Interaction: Is the player interacting with enemies (or the environment) and if yes, with how many of them?  Pressure: Is the player under pressure?

As a result, these seven different gameplay categories were specified:

 Cinematic: The category cinematic comprises all intervals, in which the player has no control over the character. Hence, there is no interaction, speed or pressure.  Puzzle: Puzzles are game sections where the player has to think in order to progress in the level. This happens without external pressure and with low speed. Furthermore, interaction with single enemies is possible.  Roaming: Roaming is characterized by movement with low to high speed and no external pres- sure. Interaction with single enemies is possible.

15 Based on personal experience of playing games of different genres. 11 / 52  Escape: Escape, on the other hand, is movement with medium to high speed and external pressure. Interaction with single enemies is possible. This includes chasing someone and parkour.  Fight: The category fight contains all intervals, where there is interaction with more than one enemy.  Special Fight: The category special fight differs from fight by the form of the interaction. This is very different from interval to interval, but includes interfering with the typical fight mechanics and more difficult fights like boss fights.  Quick Time Event: Quick time events are characterized by particularly high pressure and in- teraction with enemies or the environment, such as rocks falling down a slope.

It is important to note, that “tension [and therefore pacing] can and should happen on different scales.”16 In this thesis, pacing is examined at a high level. Hence, the pacing at lower levels, like the inner pacing of individual puzzles or fights is not analyzed.

3.1.3 Creating Pacing Charts

As a next step, the videos where divided into gameplay intervals and one of the seven gameplay categories was assigned to each of them. For simplicity, the length of those intervals was set to ten seconds. With a playtime of several hours, it can be assumed that shorter intervals are of no significance for the pacing over the course of the whole game. To facilitate the creation of the pacing charts, the number of ten second intervals with the same gameplay category in a row was written next to the timestamps, followed by the gameplay category.17

After the preparation of the data, the data was visualized in a way analogous to the procedure of Filip Coulianos.18 In the case of Tomb Raider, this was done mission by mission. In contrast, the gameplay of Assassin's Creed: Brotherhood is coined by intervals that can link different missions or chapters (called sequence 1 to sequence 9). These intervals cannot be assigned to missions and therefore, the segmentation of Assas- sin’s Creed: Brotherhood was done sequence by sequence.

16 (Rose, 2010), Games in Particular. 17 Refer to section 10 Appendix for all timestamps. 18 (Coulianos, 2011). 12 / 52 As a first step, colors were assigned to the categories ranging on a scale from green to yellow to red to blue, as seen in Figure 1. The farther the color goes into the direction of blue, the higher is the perceived tension in this category. This means that the green of the cinematic category represents a very low tension and the blue of the quick time event category a very high tension.

Figure 1: Gameplay categories and the assigned colors

The second step was to create pacing charts for each mission, respectively sequence, like seen in Figure 2. This was done by coloring the cells by the gameplay category assigned to them. The cells’ width was re- duced for a better overview and the border made thicker every six cells, which equals every minute.

Figure 2: Exemplary pacing chart 3.1.4 Creating Pacing Graphs

Even though the analysis of the pacing charts offers numerous figures, trends and insights, the results can only be grasped with some difficulty. In order to illustrate the pacing of the two games, pacing graphs were created as follows:

Scores were assigned to the gameplay categories, which reflect the tension of each category (see Figure 3). These are based on the four criteria, which were used to distinguish the different gameplay categories in the previous paragraph. Control has the highest impact, followed by pressure and interaction. Speed has the lowest impact.

Figure 3: Scores assigned to the gameplay categories

 Cinematic: The score for the category cinematic is negative, due to no control, interaction, pres- sure or speed.  Puzzle: Puzzles are rated neutral because of no external pressure, low speed and interaction with single enemies.  Roaming: The category roaming has higher speed than puzzle and is therefore rated higher.  Escape: Escape’s score is medium high because of medium speed and external pressure.

13 / 52  Fight: Fights are also rated medium high. The intensity of the interaction with more than one enemy is comparable to the external pressure and speed of the escape category.  Special Fight: Special fights demands more interaction and are therefore rated higher.  Quick Time Event: Due to having the highest pressure, this category is rated the highest.

In addition to the color of the gameplay categories, the respective scores were specified in the pacing charts. To allow for an easier analysis, the pacing charts of the segments were lined up in a single row. In a second row, the running total of the values was calculated, as seen in Figure 4. This leads to a tension value over the course of the whole game.

Figure 4: Example for a lined up pacing charts with running total below

As a next step, the running totals were placed in different lines per segment to differentiate the segments in the graph. Finally, the tension values obtained by the previous step were used to create a pacing graph, as seen in Figure 5. It is important to note, that the colors of the graph do not represent the gameplay catego- ries.

Figure 5: Example for pacing graph

14 / 52 3.2 Analysis

For the analysis of the two games, the pacing charts and graphs of each game were examined further. The pacing charts were examined regarding the percentages of the gameplay categories and the discoveries as well as noticeable occurrences were emphasized. Furthermore, the progression of the pacing graph was described.

3.2.1 Pacing Chart Analysis

The first step was to count the intervals assigned to the seven gameplay categories and calculate their ratio. An example can be seen in Figure 6.19

Figure 6: Example for pacing chart analysis table with abbreviations for the gameplay categories: C = Cinematic, P = Puzzle, R = Roaming, E = Escape, F = Fight, S = Special Fight, Q = Quick Time Event, T = Total

As a next step, these tables20 were condensed into one table per game, covering all sequences/missions. These tables can be analyzed regarding two different aspects: Segment specific and gameplay category spe- cific. On the one hand, the tables highlight the dominant gameplay categories for every specific segment (Figure 7). On the other hand, the segments in which the different gameplay categories occurred the most often can also be highlighted (Figure 8). Please note that the figures in both tables are identical and that the important difference is the color coding applied to highlight the two different aspects.

Figure 7: Example for pacing chart percentage table, highlighted per row/segment for segment specific analysis

19 Refer to the Excel sheets on the DVD (10.3 Digital Copy and Backup Material) for all tables. 20 Refer to the section 4 Game Analysis for the complete tables. 15 / 52

Figure 8: Example for pacing chart percentage table, highlighted per column/gameplay category for gameplay category specific analysis

In both tables, all values greater than 50 percent of the maximum in that row, respectively column, are highlighted.

The final step was to describe the two tables per game and emphasize the discoveries and noticeable occur- rences. The highest percentages per segment and per gameplay category were identified. Furthermore, clus- tering of high percentages and other conclusions were pointed out.

3.2.2 Pacing Graph Analysis

Like mentioned before, the pacing graphs of Assassin’s Creed: Brotherhood and Tomb Raider were described. This was done with the results of the pacing chart analysis in mind. Significant changes in tension were pointed out and trends described. Furthermore, these changes and trends were accounted for by the occur- rence of intervals of the gameplay categories and key segments were labelled for easier reference.

16 / 52 4 Game Analysis

The analysis describes the pacing charts21 and pacing graphs22 of the two games. This includes the running time of the recorded video footage, the number of gameplay intervals and the ratio of the gameplay catego- ries over the course of the games. Furthermore, the percentages of the gameplay categories for each segment were condensed into different tables. These tables were described and noticeable occurrences pointed out. The same has been done for the pacing graphs.

4.1 Assassin’s Creed: Brotherhood

For Assassin’s Creed: Brotherhood, a total of 13 hours of video footage was recorded. This resulted in 2965 gameplay intervals of ten seconds each after discarding non-relevant parts.23 The number of intervals cor- responds to 494 minutes (or eight hours and twelve minutes) of gameplay. Of these, the following numbers of intervals were assigned to the corresponding categories as seen in Table 1.

Table 1: Assassin’s Creed: Brotherhood – Number, percentage and playtime of intervals per category

This assignment shows that the gameplay of Assassin’s Creed: Brotherhood is dominated by the categories cin- ematic, puzzle and roaming, covering more than 80% of the gameplay. These categories have a rather low intensity in common, which corroborates the subjective impression felt while recording the videos. Further- more, it is striking that less than half an hour of gameplay is assigned to the high-intensity categories special fight and quick time event.

21 Refer to the section 3.1.3 Creating Pacing Charts. 22 Refer to the section 3.1.4 Creating Pacing Graphs. 23 Refer to the section 3.1.1 Recording Video Footage. 17 / 52 4.1.1 Pacing Charts for Assassin’s Creed: Brotherhood

In the following, the pacing charts – as described in section 3.1.3 Creating Pacing Charts – will be analyzed with the help of the tables attained through the method described in section 3.2.1 Pacing Chart Analysis.

As seen in Table 2, sequence 1 is the sequence with the most intervals assigned to the gameplay category cinematic. The category puzzle has the highest percentage in sequence 9 and roaming in sequence 3. Escape and fight both have their high in sequence 6 and special fight in sequence 8. The only intervals assigned to the quick time event category are found in sequence 1. In general, the following observations can be made: Cinematics are used most often at the start while the high-intensity categories escape, fight and special fight occur more often in the second half of the game. Furthermore, the last two sequences are coined by puzzles.

Table 2: Assassin’s Creed: Brotherhood – Percentage of assigned intervals per sequence, color graded for gameplay category specific analysis

18 / 52 As seen in Table 3, sequence 1 is dominated by the cinematic category. So is sequence 7, but not as distinct. Most of the intervals are assigned to the puzzle category in sequence 2, 8 and 9. Sequence 2 to 6 are the segments, where most of the intervals belong to the category roaming. The other categories do not dominate any sequence. Furthermore, the following tendencies are striking: The share of the cinematic category is not only high in the first sequence, but also in sequence 2 and 7. In sequence 3, over 95% of the intervals are assigned to the roaming and cinematic category, the latter reaching nearly 75%. The middle part of the game, sequence 2 to 6, consists of a high percentage of roaming intervals – with an average of 47% per sequence – while the last three sequences average at only 13%. With 2.9%, the share of the roaming category is the lowest in the last sequence. That implies that the share of roaming intervals decreases towards the end of the game.

Table 3: Assassin’s Creed: Brotherhood – Percentage of assigned intervals per sequence, color graded for sequence specific analysis

19 / 52 4.1.2 Pacing Graph for Assassin’s Creed: Brotherhood

Figure 6 shows the pacing graph24 of Assassin’s Creed: Brotherhood. It can be seen clearly, that the domination of the cinematic category in sequence 1 leads to a fall of tension at the start of the game. Being composed almost equally of intervals from the puzzle and roaming category, the tension drops significantly less during sequence 2. Sequence 3 has an even higher proportion of roaming, which is why there is only a small de- crease in tension. In sequence 4 we have the first overall increase of tension. This is due to a higher per- centage of high-intensity intervals from the categories escape and fight and less cinematics. Sequence 5 is almost neutral while sequence 6, being the sequence with the most intervals assigned to the escape and fight categories, shows an increase in tension again. During the next sequence, the tension reaches a new peak after the drop from sequence 1. However, the tension drops again by the end of sequence 7 due to long periods of puzzles and cinematics. This trend continues in sequence 8 and 9, the two sequences with the highest percentages of puzzles. This leads to a massive drop of tension in sequence 9, starting after the final battle – the last peak seen in the graph –, which is comparable to the drop in sequence 1.

Figure 9: Assassin’s Creed: Brotherhood – Pacing Graph

24 Refer to the section 3.1.4 Creating Pacing Graphs. 20 / 52 4.2 Tomb Raider

For Tomb Raider, a total of six hours and 20 minutes of video footage was recorded. This resulted in 2106 gameplay intervals of ten seconds each after discarding non-relevant parts.25 The number of intervals cor- responds to 351 minutes (or five hours and 51 minutes) of gameplay. Of these, the following numbers of intervals were assigned to the corresponding categories as seen in Table 4.

Table 4: Tomb Raider – Number, percentage and playtime of intervals per category

Similar to Assassin’s Creed: Brotherhood, the gameplay of Tomb Raider is dominated by intervals assigned to the categories cinematic and roaming. However, in contrast to Assassin’s Creed: Brotherhood, the category puzzle has a significantly smaller and the category fight a much higher importance. Furthermore, the three catego- ries cinematic, roaming and fight already cover more than 80% of the gameplay. Despite a higher proportion of the slightly more intensive category fight, less than 5% of the gameplay is assigned to the two categories special fight and quick time event. Both games contain about 17 minutes of gameplay assigned to these two categories.

25 Refer to section 3.1.1 Recording Video Footage. 21 / 52 4.2.1 Pacing Charts for Tomb Raider

As seen in Table 5, mission 3 and 18 are the missions with the highest percentage of cinematics. The most puzzles are found in mission 1 and 2, but mission 16 and 23 have a high percentage as well. The percentage of intervals assigned to the roaming category has its peak in mission 10, closely followed by mission 6. The missions with the highest percentage of escape intervals are mission 2 and 18. Mission 14 has the most fight intervals, followed by mission 19. The most special fights are in mission 17 and the highest amount of quick time events is found in mission 2. Furthermore, the following trends are noticeable: cinematics occur rela- tively even over the course of the game, having four peaks in mission 1, 3 and 5 at the beginning and mission 18 later in the game. It is striking that the category fight has a high occurrence over the second half of the game.

Table 5: Tomb Raider – Percentage of assigned intervals per mission, color graded per gameplay category

22 / 52 As seen in Table 6, three early missions (mission 1, 3 and 5) have most of their intervals assigned to the cinematic category, as have mission 18 and 24. Cinematics are used the most in the first five missions (45% on average), though the highest percentage occurs in mission 18. Only one mission is dominated by a high percentage of puzzle intervals, which is mission 2 followed by mission 1. Roaming on the other hand dom- inates in 13 missions, which are mission 4, 6 to 12, 15 and 16, 19, 21 and 23. The highest percentage of fight intervals can be found in the missions 13, 14, 16, 17, 20 and 22. The gameplay categories escape, special fight and quick time event do not have the highest percentage in any mission.

Table 6: Tomb Raider – Percentage of assigned intervals per mission, color graded per mission

23 / 52 4.2.2 Pacing Graph for Tomb Raider

In Figure 10, the pacing graph26 of Tomb Raider can be seen. In the early game, the high percentage of intervals assigned to the cinematic category in mission 1, 3 and 5 leads to a significant fall of tension. This drop in tension is softened but not prevented by the high percentage of puzzle and roaming in missions 2 and 4. Mission 6 to 12 are dominated by roaming intervals, so over the course of these missions, there is no significant change of tension. Furthermore, a decrease of tension over this section is prevented by a tem- porary rise of tension due to the high fight percentage in mission 8. After mission 12, the high percentage of fight intervals leads to several peaks and an increase in tension until mission 18. In this mission, a high amount of cinematics leads to the steepest drop of tension. The following two missions have a high per- centage of fights again, followed by the short mission 21 with a lot of roaming. It is striking, that mission 22 shows the biggest increase of tension, due to being a long mission with a high percentage of fight. At first, the tension rises in mission 23, but then drops two times. The second drop continues at the start of mission 24. After that drop, the tension rises once again, but decreases before the way to the final encounter. After the resulting peak, the final cinematics follow and the tension drops yet again.

Figure 10: Tomb Raider – Pacing Graph

26 Refer to the section 3.1.4 Creating Pacing Graphs. 24 / 52 5 Interpretation

In this section, the results of the analysis are interpreted. This includes comparing the percentages of the gameplay categories for the two games and comparing the two pacing graphs.

When compared with each other, there are similarities and differences between Assassin’s Creed: Brotherhood and Tomb Raider. The first difference is how long it takes to complete the games. According to How- LongToBeat.com players need 11.5 hours for Tomb Raider27 and 14.5 hours for Assassin’s Creed Brotherhood28 to play through the main story on average. The recorded video footage consists of 5.9 hours of gameplay of Tomb Raider and 8.2 hours of gameplay of Assassin’s Creed: Brotherhood. The data shows that the main story of Assassin’s Creed: Brotherhood is longer. Another aspect is best illustrated by these pie charts:

Figure 11: Assassin’s Creed: Brotherhood – Pie chart Figure 12: Tomb Raider – Pie chart of the distribution of the distribution of the gameplay categories of the gameplay categories

The categories cinematic, roaming, special fight and quick time event do not vary significantly in their percentages; Tomb Raider has more quick time events though. On the other hand, Tomb Raider has less intervals assigned to the escape category. The most striking differences are, that Assassin’s Creed: Brotherhood has significantly more puzzles and Tomb Raider significantly more fights. As the puzzle category is rated lower than the fight category, this leads to the two different graphs, as seen in Figure 13. Furthermore, the following conclusions can be made: The two graphs both drop at the beginning and have peaks at about the same intervals (at interval 100 and before 200). The graph of Tomb Raider recovers first, but the graph is

27 (HowLongToBeat.com, 2016). 28 (HowLongToBeat.com, 2016). 25 / 52 also shorter. From there on the differences become obvious. While the graph of Assassin’s Creed: Brotherhood stays in the range of -1000 to -1500 – with one exception after interval 1100, where it drops even lower – the graph of Tomb Raider only drops below -1000 once before interval 500 and follows an upward trend from there on. The graph even nearly reaches the zero line. Assassin’s Creed: Brotherhood, on the other hand, decreases in tension towards the end of the game and drops below -2000. Another difference is the magnitude of the fluctuations of the two graphs. The increase and decrease of tension is distinctly greater in Tomb Raider than it is in Assassin’s Creed: Brotherhood.

Figure 13: The pacing graphs of Assassin’s Creed: Brotherhood and Tomb Raider in comparison

26 / 52 6 Conclusion

The conclusion is divided into three subsections. At first the limitations of the procedure used in this thesis and possible future improvements are described. In the next section, the answer how good pacing can be qualified is answered. Finally, the procedure used in this thesis is reversed. In other words, a pacing chart is created to result in a predefined pacing graph.

6.1 Limitations and Possible Future Improvements

First of all, the procedure used in this thesis is only applicable to the examined – or very similar – games, as mentioned in 3.1.2 Specification of Gameplay Categories. This is because the gameplay categories are very specific. Furthermore, the categories – and the scores assigned to them – are based on subjectivity despite the use of objectified criteria. In the following, ideas to improve on these limitations are suggested.

If less specific categories are used, more games could be analyzed following this procedure. The categories used in this thesis could be transferred to the following four categories:

 Release: Cinematic  Neutral: Puzzle  Low Tension: Roaming  High Tension: Escape, Fight, Special Fight and Quick Time Event The only change is, that all categories with a value of five or above were merged into the high tension category. This transformation of categories is only one possible solution as there may be more possibilities to create different gameplay categories.

When applied to the available data and assigning a score of 7.5 to the new category, the graphs do not change significantly, as can be seen in Figure 14 and Figure 15 on the next page. The increased score of fight and escape intervals leads to an increased slope and a higher minimum tension value. The graph of Assassin’s Creed: Brotherhood dropped below -2000 at the end and now drops just below -1000. The one of Tomb Raider had a drop below -1000 and was never in the positive range, which changed with the new scores. Despite this change, the same conclusions can be made when analyzing them. Please note that the range of the vertical axis is different.

27 / 52

Figure 14: Assassin’s Creed: Brotherhood – Alternative pacing graph

Figure 15: Tomb Raider – Alternative pacing graph

28 / 52 Regarding the subjectivity of the scores, these could be validated using biometrics. This might lead to more objectivity. One possibility would be to let players play different segments of a game, which were assigned to the different categories, and measure the biometric data of the player, such as pulse, skin conductance level, eye movement, etc. This data could then be used to determine the relations of the different categories.

6.2 Qualifying Good Pacing

One part of the question of this thesis was how to qualify good pacing. With a look at the two pacing graphs, one can conclude that Tomb Raider is characterized by better pacing. Reasons for this are the upward trend of the graph and the more distinct changes in tension than in the case of Assassin’s Creed: Brotherhood. This is in line with Wesołowski’s statement that “intensity is an increasing wave of peaks and reliefs.”29 Further- more, Schell pronounces: “Too much tension, and we wear out. Too much relaxation [release], and we grow bored.”30 In both games, long periods of high tension are almost always followed by cinematics. This can be seen by the fall of tension in the graph after a gradual increase of tension, for example in mission 17 and 18 and in sequence 3. However, the downward trend of Assassin’s Creed: Brotherhood is a sign for too much release, which aligns with the subjective feeling the author had during playing the game: It was not as exciting as playing Tomb Raider and the middle part of the game was monotonous and boring.

The procedure used in this thesis is a one possible way to illustrate the pacing of a game. Based on this and the previous paragraph, it is possible to differentiate good pacing from bad pacing. One has to ask the following questions when looking at the graph:

 Has the graph an upward trend after the opening?  Is there not too much tension or release in succession?  Has the graph significant changes in tension? If the answer to one of these questions is “no”, the pacing of the game could be improved.

29 (Wesołowski, 2009). 30 (Schell, 2008), p. 122. 29 / 52 6.3 Developing Good Pacing

The second part of the question was how to achieve good pacing as a developer. To demonstrate one possible way of doing this, the procedure of creating the pacing graphs is reversed.

Figure 16: Predefined pacing graph

The first step is to create a pacing graph which illustrates the desired pacing. The graph seen in Figure 16 was created by the author in order to illustrate one possible szenario. Based on this graph, pacing charts can be created (Figure 17) to approximate the predefined graph, as seen in Figure 18.

Figure 17: Pacing chart to approximate the predefined pacing graph

Subsequently, one could follow the steps Coulianos describes in his article31 to achieve good pacing. These steps are:

1. Use the pacing chart as a framework to build the game. 2. Collect data through playtesting, such as completion times and player feedback. 3. Compare the feedback to how the player progressed through the game. 4. Create an average completion time and compare it to your pacing chart. 5. Iterate over the design.

31 (Coulianos, 2011), In Practice. 30 / 52

Figure 18: Resulting pacing graph

The most significant addition to Coulianos’ procedure is the creation of the pacing graphs. These resemble plot lines for stories, which are commonly used to illustrate dramatic tension32. Hence, the graphs could facilitate the communication with publishers about the desired pacing of the game even more.33

6.4 Final Words

In his article Wesołowski34 states, that “on the scale of cultural maturity, we're toddlers.” He is right. Games are a young media when compared to Greek drama and literature. Hence, there are no books about pacing in video games.35 Consequently, there is a lot of research still to be done. Hopefully, this thesis could help in that regard.

32 (Abernathy & Rouse, 2014) The authors use graphs of a similar style at p. 6, 9 and 15. 33 (Coulianos, 2011), Final Words: „One area where the method got picked up quickly was in the pitching process during dialogue with publishers. With the help of these pacing charts, my colleagues gained an efficient way to com- municate and to determine what type of pacing the publishers were looking for.“ 34 (Wesołowski, 2009). 35 There were at least no books the author could find on the internet. 31 / 52 7 Bibliography

Abernathy, T., & Rouse, R. (2014). Death to the Three-Act Structure! Retrieved from GDC Vault: http://www.gdcvault.com/play/1020050/Death-to-the-Three-Act

Coulianos, F. (2011, August 3). Pacing And Gameplay Analysis In Theory And Practice. Retrieved from Gamasutra: http://www.gamasutra.com/view/feature/134815/pacing_and_gameplay_analysis_in_.php

Davies, M. (2009, May 12). Examining Game Pace: How Single-Player Levels Tick. Retrieved from Gamasutra: http://www.gamasutra.com/view/feature/132415/examining_game_pace_how_.php

HowLongToBeat.com. (2016, August 18). Retrieved from How long is Tomb Raider (2013)? - HLTB: https://howlongtobeat.com/game.php?id=10469

HowLongToBeat.com. (2016, August 18). Retrieved from How long is Assassin's Creed: Brotherhood? - HLTB: https://howlongtobeat.com/game.php?id=661

Rehfeld, G. (2016). At Tension. Hamburg: unpublished.

Rose, J. (2010, July 29). Addressing Conflict: Tension and Release in Games. Retrieved from Gamasutra: http://www.gamasutra.com/view/feature/134313/addressing_conflict_tension_and_.php

Schell, J. (2008). The Art of Game Design - A Book of Lenses. Burlington, Massachusetts: Morgan Kaufmann Publishers.

Wesołowski, J. (2009, May 21). Beyong Pacing: Games Aren't Hollywood. Retrieved from Gamasutra: http://www.gamasutra.com/view/feature/132423/beyond_pacing_games_arent_.php

32 / 52 8 List of Figures

Figure 1: Gameplay categories and the assigned colors ...... 13 Figure 2: Exemplary pacing chart ...... 13 Figure 3: Scores assigned to the gameplay categories ...... 13 Figure 4: Example for a lined up pacing charts with running total below ...... 14 Figure 5: Example for pacing graph ...... 14 Figure 6: Example for pacing chart analysis table with abbreviations for the gameplay categories: C = Cinematic, P = Puzzle, R = Roaming, E = Escape, F = Fight, S = Special Fight, Q = Quick Time Event, T = Total ...... 15 Figure 7: Example for pacing chart percentage table, highlighted per row/segment for segment specific analysis ...... 15 Figure 8: Example for pacing chart percentage table, highlighted per column/gameplay category for gameplay category specific analysis ...... 16 Figure 9: Assassin’s Creed: Brotherhood – Pacing Graph ...... 20 Figure 10: Tomb Raider – Pacing Graph ...... 24 Figure 11: Assassin’s Creed: Brotherhood – Pie chart of the distribution of the gameplay categories ...... 25 Figure 12: Tomb Raider – Pie chart of the distribution of the gameplay categories ...... 25 Figure 13: The pacing graphs of Assassin’s Creed: Brotherhood and Tomb Raider in comparison ...... 26 Figure 14: Assassin’s Creed: Brotherhood – Alternative pacing graph ...... 28 Figure 15: Tomb Raider – Alternative pacing graph ...... 28 Figure 16: Predefined pacing graph ...... 30 Figure 17: Pacing chart to approximate the predefined pacing graph ...... 30 Figure 18: Resulting pacing graph ...... 31 Figure 19: Assassin’s Creed: Brotherhood – Sequence 1 ...... 42 Figure 20: Assassin’s Creed: Brotherhood – Sequence 2 ...... 42 Figure 21: Assassin’s Creed: Brotherhood – Sequence 3 ...... 42 Figure 22: Assassin’s Creed: Brotherhood – Sequence 4 ...... 42 Figure 23: Assassin’s Creed: Brotherhood – Sequence 5 ...... 42 Figure 24: Assassin’s Creed: Brotherhood – Sequence 6 ...... 43 Figure 25: Assassin’s Creed: Brotherhood – Sequence 7 ...... 43 Figure 26: Assassin’s Creed: Brotherhood – Sequence 8 ...... 43 Figure 27: Assassin’s Creed: Brotherhood – Sequence 9 ...... 43 Figure 28: Tomb Raider – Mission 1: So it begins ...... 48 Figure 29: Tomb Raider – Mission 2: Force of Will ...... 48 Figure 30: Tomb Raider – Mission 3: Signs of Life ...... 48 Figure 31: Tomb Raider – Mission 4: Woman versus Wild ...... 48 33 / 52 Figure 32: Tomb Raider – Mission 5: Just keep moving...... 48 Figure 33: Tomb Raider – Mission 6: At an Impasse ...... 48 Figure 34: Tomb Raider – Mission 7: Mountain Rendezvous ...... 49 Figure 35: Tomb Raider – Mission 8: Cry for Help ...... 49 Figure 36: Tomb Raider – Mission 9: A Road less travelled ...... 49 Figure 37: Tomb Raider – Mission 10: Guilty Conscience ...... 49 Figure 38: Tomb Raider – Mission 11: Another fine Mess ...... 49 Figure 39: Tomb Raider – Mission 12: A Friend in Need ...... 49 Figure 40: Tomb Raider – Mission 13: Open Wounds ...... 49 Figure 41: Tomb Raider – Mission 14: Highway to Hell ...... 50 Figure 42: Tomb Raider – Mission 15: Liberator ...... 50 Figure 43: Tomb Raider – Mission 16: No One left behind ...... 50 Figure 44: Tomb Raider – Mission 17: Into the Fire ...... 50 Figure 45: Tomb Raider – Mission 18: Get to the Chopper ...... 50 Figure 46: Tomb Raider – Mission 19: Some Time alone ...... 50 Figure 47: Tomb Raider – Mission 20: Fast Way down ...... 50 Figure 48: Tomb Raider – Mission 21: A Pirate’s Life ...... 51 Figure 49: Tomb Raider – Mission 22: Gone missing ...... 51 Figure 50: Tomb Raider – Mission 23: Storm Chaser ...... 51 Figure 51: Tomb Raider – Mission 24: Going back in ...... 51

34 / 52 9 List of Tables

Table 1: Assassin’s Creed: Brotherhood – Number, percentage and playtime of intervals per category .... 17 Table 2: Assassin’s Creed: Brotherhood – Percentage of assigned intervals per sequence, color graded for gameplay category specific analysis ...... 18 Table 3: Assassin’s Creed: Brotherhood – Percentage of assigned intervals per sequence, color graded for sequence specific analysis ...... 19 Table 4: Tomb Raider – Number, percentage and playtime of intervals per category ...... 21 Table 5: Tomb Raider – Percentage of assigned intervals per mission, color graded per gameplay category ...... 22 Table 6: Tomb Raider – Percentage of assigned intervals per mission, color graded per mission ...... 23

35 / 52 10 Appendix 10.1 Assassin’s Creed: Brotherhood 10.1.1 Timestamps Sequence 1 – 1.4 Horsing around 1.7 Emergency Exit as 00:00 – 00:50: 5 Roaming Desmond Peace at Last 00:50 – 01:00: 1 Cinematic 00:10 – 03:00: 17 Cinematic 01:00 – 02:10: 7 Escape 03:00 – 03:30: 3 Chase 1.1 Mass Exodus and (Chase) 03:30 – 04:30: 6 Cinematic Homecoming 02:10 – 02:30: 2 Cinematic 04:30 – 04:40: 1 Roaming 00:00 – 02:30: 15 Cinematic 04:40 – 05:50: 7 Cinematic 02:30 – 02:40: 1 Quick Time 1.5 Reunion and Vilified 05:50 – 06:20: 3 Roaming Event 00:00 – 00:30: 3 Roaming 06:20 – 07:00: 4 Cinematic 02:40 – 04:00: 8 Cinematic 00:30 – 03:10: 16 Cinematic 07:00 – 08:00: 6 Roaming 04:00 – 04:10: 1 Roaming 03:10 – 03:30: 2 Roaming 08:00 – 08:20: 2 Cinematic 04:10 – 05:30: 8 Cinematic 03:30 – 07:00: 21 Cinematic 08:20 – 08:50: 3 Roaming 05:30 – 06:10: 4 Puzzle 07:00 – 07:50: 5 Escape 08:50 – 10:30: 10 Puzzle 06:10 – 06:30: 2 Cinematic (Chase) 10:30 – 11:20: 5 Cinematic 06:30 – 06:40: 1 Roaming 11:20 – 11:40: 2 Roaming 06:40 – 07:00: 2 Cinematic 1.6 Vilified and Emergency 11:40 – 13:30: 5 Puzzle 07:00 – 07:40: 4 Roaming Exit 13:30 – 13:50: 2 Roaming 07:40 – 08:20: 4 Fight 00:20 – 02:30: 13 Special 13:50 – 15:00: 7 Puzzle 08:20 – 08:30: 1 Escape Fight 15:00 – 15:10: 1 Cinematic 08:30 – 08:40: 1 Fight 02:30 – 02:40: 1 Cinematic 15:10 – 15:30: 2 Roaming 08:40 – 09:20: 4 Escape 02:40 – 03:00: 2 Escape 15:40 – 16:20: 4 Cinematic 09:20 – 09:30: 1 Fight (Chase) 16:20 – 17:00: 4 Roaming 09:30 – 10:20: 5 Escape 03:00 – 04:00: 6 Fight 17:00 – 18:40: 10 Cinematic 10:20 – 11:40: 8 Cinematic 04:00 – 04:30: 3 Special Fight 11:40 – 12:00: 2 Roaming 04:30 – 06:00: 9 Cinematic 1.8 Emergency Exit as 12:00 – 12:20: 2 Cinematic 06:00 – 06:10: 1 Fight Desmond 12:20 – 13:00: 4 Roaming 06:10 – 06:20: 1 Escape 00:00 – 00:30: 3 Roaming 13:00 – 13:50: 5 Cinematic 06:20 – 06:30: 1 Fight 00:30 – 00:40: 1 Cinematic

06:30 – 06:40 1 Escape 00:40 – 03:10: 15 Puzzle 1.2 R & R 06:40 – 06:50: 1 Cinematic 03:10 – 03:50: 4 Cinematic 00:10 – 00:50: 4 Roaming 06:50 – 07:20: 3 Fight 00:50 – 01:10: 2 Cinematic 07:20 – 07:30: 1 Escape 1.9 Virtual Training 01:10 – 02:10: 6 Roaming 07:30 – 07:40: 1 Fight 00:00 – 00:30: 3 Cinematic 02:10 – 02:40: 3 Cinematic 07:40 – 07:50: 1 Special Fight 00:30 – 01:20: 5 Special Fight

07:50 – 08:00: 1 Escape 01:20 – 02:20: 6 Cinematic 1.3 Target Practice 08:00 – 08:10: 1 Fight 00:00 – 01:10: 7 Roaming 08:10 – 08:30: 2 Escape 01:10 – 01:30: 2 Cinematic 08:30 – 09:00: 3 Cinematic 01:30 – 01:50: 2 Roaming 09:00 – 09:10: 1 Escape 01:50 – 02:20: 3 Cinematic 09:10 – 10:20: 7 Cinematic 02:20 – 03:10: 5 Roaming 03:10 – 03:30: 2 Cinematic 03:30 – 05:20: 11 Special Fight (with lower score) 05:20 – 05:40: 2 Cinematic

36 / 52 Sequence 2 – 2.5 Who’s got Mail 04:10 – 07:40: 21 Roaming 00:00 – 01:30: 9 Roaming (Hide) A Wilderness of (Follow) 07:40 – 08:10: 3 Cinematic Tiger 01:30 – 01:50: 2 Cinematic 08:10 – 12:30: 26 Roaming 01:50 – 02:00: 1 Fight 12:30 – 13:10: 4 Cinematic 2.1 As Good as New 02:00 – 02:10: 1 Chase 13:10 – 13:20: 1 Roaming 00:00 – 02:10: 13 Cinematic 02:10 – 03:40: 9 Roaming 13:20 – 13:30: 1 Cinematic 02:10 – 03:00: 5 Roaming 13:30 – 14:30: 6 Cinematic 03:00 – 03:30: 3 Cinematic 2.6 Crepi il Lupo 14:30 – 17:50: 20 Roaming 03:30 – 04:50: 8 Roaming 00:00 – 00:30: 3 Cinematic 20:00 – 28:30: 51 Roaming 04:50 – 05:00: 1 Cinematic 00:30 – 01:20: 5 Fight 28:30 – 29:50: 8 Cinematic 05:00 – 07:40: 16 Roaming 01:20 – 01:30: 1 Roaming (Tail) 01:30 – 01:40: 1 Cinematic 3.2 Between A Rock and A 07:40 – 08:20: 4 Fight Hard Place 2.7 The Halls of Nero 00:00 – 00:10: 1 Special Fight 2.2 Well executed 00:00 – 00:10: 1 Cinematic (Chase Assassination) 00:00 – 00:20: 2 Roaming 00:20 – 03:00: 16 Puzzle 00:10 – 01:50: 10 Roaming 00:20 – 01:10: 5 Cinematic 03:00 – 03:10: 1 Cinematic 01:50 – 02:20: 3 Cinematic 01:10 – 03:00: 11 Roaming 03:10 – 03:20: 1 Roaming 02:20 – 04:20: 12 Roaming 03:00 – 03:10: 1 Special Fight 03:20 – 05:00: 3 Puzzle 04:20 – 06:30: 13 Cinematic (Assassination) 05:00 – 05:30: 3 Cinematic 06:30 – 12:00: 33 Roaming 03:10 – 03:30: 2 Cinematic 05:30 – 07:50: 14 Puzzle (Reaching next mission) 03:30 – 04:20: 5 Fight 07:50 – 08:10: 2 Cinematic 12:00 – 12:30: 3 Cinematic 08:10 – 15:20: 37 Puzzle 2.3 New Man in Town 15:20 – 16:00: 4 Roaming 3.3 High-Stakes Negotia- 00:00 – 00:40: 4 Roaming 16:00 – 16:20: 2 Cinematic tion 00:40 – 01:10: 3 Escape 16:20 – 16:40: 2 Roaming 00:00 – 02:40: 16 Roaming 01:10 – 02:10: 6 Roaming 17:00 – 18:00: 6 Cinematic 02:40 – 02:50: 1 Cinematic 02:10 – 02:40: 3 Cinematic 18:00 – 18:30: 3 Roaming 02:50 – 03:50: 6 Fight 02:40 – 03:20: 4 Roaming (Follow) 03:50 – 07:40: 23 Roaming 03:20 – 03:50: 3 Cinematic 18:30 – 18:50: 2 Cinematic 07:40 – 08:50: 7 Cinematic 04:20 – 06:20: 12 Roaming 18:50 – 19:10: 2 Roaming 08:50 – 09:10: 2 Roaming 06:20 – 06:40: 2 Cinematic 19:30 – 21:10: 10 Cinematic 09:10 – 10:20: 7 Cinematic 06:40 – 12:00: 32 Puzzle 10:30 – 13:00: 15 Roaming (Planning Assassination) Sequence 3 – The 13:00 – 14:50: 11 Cinematic 12:00 – 13:40: 10 Special Fighter, The Lover 14:50 – 15:00: 1 Roaming Fight (Assassination) 15:00 – 15:30: 3 Cinematic 13:40 – 14:00: 2 Roaming and The Thief 14:00 – 14:20: 2 Cinematic Sequence 4 – Den of 3.0.1 Sequence Change 00:00 – 00:40: 4 Roaming Thieves 00:40 – 01:00: 2 Cinematic 00:00 – 00:20: 2 Cinematic 01:00 – 01:30: 3 Roaming 3.0.2 Sequence Change 4.0 Sequence Change 01:30 – 01:40: 1 Cinematic 00:20 – 00:30: 1 Cinematic 00:00 – 03:30: 21 Roaming 03:30 – 04:40: 7 Cinematic 00:30 – 03:50: 20 Roaming 2.4 Easy Come, easy Go Side quest Borgia Tower (fail) 00:00 - 01:30: 9 Roaming 3.1 Double Agent 09:30 – 10:30: 6 Cinematic (Follow) 01:30 – 01:40: 1 Cinematic 00:00 – 02:30: 15 Roaming 02:30 – 03:10: 4 Cinematic 4.1 Castello Crasher 01:40 – 02:00: 2 Chase 00:00 – 00:40: 4 Roaming 02:00 – 03:30: 9 Roaming 03:10 – 04:00: 5 Fight 04:00 – 04:10: 1 Cinematic 00:40 – 03:20: 16 Puzzle 03:30 – 04:00: 3 Cinematic (Hide & Kill) 03:20 – 03:40: 2 Cinematic 37 / 52 03:40 – 10:40: 42 Puzzle 4.4.1 Guardian of Forlì 4.7 Human Cargo (Hide & Kill & Climb) 00:00 – 00:30: 3 Escape 00:00 – 00:20: 2 Cinematic 10:40 – 11:50: 7 Cinematic 00:30 – 00:50: 2 Cinematic 00:20 – 00:30: 1 Roaming 11:50 – 12:30: 4 Puzzle died Failed Borgia captain assassi- 12:30 – 12:40: 1 Cinematic 02:30 – 04:00: 9 Fight nation 12:40 – 13:00: 2 Puzzle 04:00 – 04:10: 1 Cinematic 02:00 – 02:40: 4 Roaming 13:00 – 13:40: 4 Cinematic 04:10 – 05:50: 10 Fight 02:40 – 05:00: 14 Chase 13:40 – 17:00: 20 Puzzle 05:50 – 06:00: 1 Escape 05:00 – 05:10: 1 Fight (Assas- (Hide & Kill & Climb) 06:00 – 08:40: 16 Roaming sins) 17:00 – 17:30: 3 Cinematic (reducing Notoriety) 05:10 – 05:30: 2 Cinematic Side quest 05:30 – 06:00: 3 Fight 4.2.1 Femme Fatale 15:30 – 16:00: 3 Roaming 06:00 – 06:20: 2 Roaming 00:00 – 01:50: 11 Roaming Assassins menu 01:50 – 02:00: 1 Cinematic 4.4.2 Guardian of Forlì 06:50 – 07:50: 6 Roaming 02:00 – 02:30: 3 Puzzle Viewpoint (Climb) 04:00 – 06:40: 16 Roaming 4.8 An unexpected Visitor 02:30 – 02:50: 2 Cinematic (Repairing) 00:00 – 00:10: 1 Roaming 02:50 – 03:10: 2 Roaming 00:10 – 02:20: 13 Cinematic 03:10 – 03:30: 2 Cinematic 4.4.3 Guardian of Forlì Leonardo menu Blacksmith 02:40 – 02:50: 1 Cinematic 4.2.2 Femme Fatale 00:20 – 02:20: 12 Roaming 02:50 – 05:20: 15 Roaming 00:00 – 00:40: 4 Fight 02:20 – 04:00: 10 Cinematic Bank 00:40 – 01:00: 2 Special 6:10 – 07:10: 6 Roaming Movement (Lucrecia) … 4.5 Man of the People Borgia Tower Assassination Roaming? 00:00 – 00:20: 2 Roaming 13:00 – 16:10: 19 Roaming 01:00 – 01:20: 2 Fight 00:20 – 00:50: 3 Fight 01:20 – 02:10: 5 SM L 00:50 – 01:20: 3 Cinematic 4.9 War Plans 02:10 – 02:40: 3 Fight 01:20 – 01:30: 1 Roaming 00:00 – 00:30: 3 Roaming 02:40 – 02:50: 1 SM L 01:30 – 01:50: 2 Fight 00:30 – 01:00: 3 Special Fight Took the wrong turn 01:50 – 02:00 1 Cinematic 01:00 – 02:10: 7 Roaming 03:50 – 04:00: 1 SM L 02:00 – 03:00: 6 Roaming 02:20 – 02:30: 1 Cinematic 04:00 – 04:20: 2 Fight 03:00 – 03:10: 1 Cinematic 04:20 – 05:10: 5 SM L 4.10 Outgunned 05:10 – 05:40: 3 Cinematic 4.6 Serial Offender 00:00 – 10:00: 60 Puzzle 00:00 – 00:50: 5 Chase (Hide & Kill & Climb) 4.3 The Burdens We Carry 00:50 – 01:00: 1 Fight (Assas- 10:00 – 10:20: 2 Cinematic 00:00 - 00:20: 2 Roaming sins) 10:20 – 11:10: 5 Chase (/w Caterina) 01:00 – 01:20: 2 Cinematic 11:10 – 11:30: 2 Cinematic 00:20 – 00:30: 1 Fight 01:20 – 02:50: 9 Roaming 11:30 – 15:00: 21 Escape 00:30 – 01:00: 3 Roaming 02:50 – 03:20: 3 Cinematic 15:00 – 15:10: 1 Cinematic Took the wrong turn Loading 02:20 – 03:00: 4 Fight 15:40 – 17:30: 11 Roaming 03:00 – 03:40: 4 Roaming Leonardo 03:40 – 03:50: 1 Cinematic 18:30 – 21:00: 15 Roaming 03:50 – 04:30: 4 Roaming 21:00 – 22:40: 10 Cinematic 04:30 – 04:40: 1 Fight Assassin menu 04:40 – 05:00: 2 Roaming 24:30 – 24:50: 2 Roaming 05:00 – 05:10: 1 Fight 24:50 – 25:30: 4 Cinematic 05:10 – 06:00: 5 Roaming 06:00 – 07:30: 9 Puzzle 07:30 – 08:00: 3 Roaming 08:00 – 08:10: 1 Cinematic

38 / 52 Sequence 5 – The 5.4.1 In and Out 6.2 French Kiss 00:00 – 01:20: 8 Roaming 00:00 – 00:50: 5 Roaming Banker (Follow) 00:50 – 04:30: 22 Chase Failure (Hunt) 5.0 Sequence Change 02:10 – 03:40: 9 Roaming 04:30 – 04:50: 2 Fight 00:00 – 00:30: 3 Cinematic (Follow) 04:50 – 07:40: 17 Roaming 00:30 – 02:20: 11 Roaming 03:40 – 04:20: 4 Cinematic 07:40 – 08:20: 4 Fight Doctor 08:20 – 10:40: 14 Roaming 02:50 – 03:50: 6 Roaming 5.4.2 In and Out 10:40 – 11:10: 3 Cinematic 03:50 – 04:20: 3 Cinematic 00:00 - 01:20: 8 Puzzle

(Hide) 6.3 Trojan Horse 5.1.1 Escape from Debt 01:20 – 02:30: 7 Cinematic 00:00 – 00:40: 4 Roaming 00:00 – 02:50: 17 Roaming 00:40 – 01:20: 4 Fight Failed to find him… 5.4.3 In and Out fail

Fails… 06:00 – 06:40: 4 Roaming 5.1.2 Escape from Debt 05:00 – 06:10: 7 Puzzle (Hide 06:40 – 07:00: 2 Fight Looked up where to find him & Kill) fail 00:50 – 01:20: 3 Cinematic 06:10 – 06:50: 4 Cinematic 09:50 – 10:20: 3 Roaming 01:20 – 01:30: 1 Fight 06:50 – 07:00: 1 Fight 10:20 – 10:40: 2 Fight 01:30 – 02:10: 4 Cinematic 07:00 – 08:40: 10 Escape 10:40 – 11:20: 4 Roaming 02:10 – 05:40: 21 Roaming 08:40 – 10:10: 9 Fight 11:20 – 11:50: 3 Cinematic 05:40 – 06:20: 4 Fight 10:10 – 12:40: 15 Roaming 11:50 – 12:50: 6 Roaming 06:20 – 11:50: 27 Roaming 12:50 – 13:30: 4 Cinematic 11:50 – 12:10: 2 Fight 5.5 Paper Trail 13:30 – 13:50: 2 Fight 12:10 – 12:30: 2 Roaming 00:00 – 00:40: 4 Cinematic 12:30 – 13:10: 4 Cinematic 6.4 Au Revoir Getting the money to con- Sequence 6 – The 00:00 – 00:20: 2 Puzzle (Hide tinue & Climb) 14:10 – 14:40: 3 Cinematic Baron de Valois 00:20 – 01:50: 9 Fight

01:50 – 02:20: 3 Cinematic 5.2 Follow the Money 6.0 Sequence Change failed 00:00 – 01:20: 8 Roaming 00:20 – 00:30: 1 Cinematic 02:40 – 04:10: 9 Puzzle (Hide 01:20 – 01:40: 2 Cinematic 00:30 – 03:40: 19 Roaming & Kill & Climb) 01:40 – 06:00: 26 Roaming 03:40 – 04:20: 4 Cinematic Load (Follow) 04:20 – 05:40: 8 Cinematic 06:00 – 06:20: 2 Cinematic 6.1 Gatekeeper Fail 06:20 – 08:50: 15 Puzzle Sequence 7 – The (Hide & Climb) 03:40 – 04:30: 5 Special Fight 08:50 – 09:00: 1 Cinematic 04:30 – 05:20: 5 Fight Key to the Castello 09:00 – 10:30: 9 Puzzle (Hide 05:20 – 05:40: 2 Roaming & Climb & Kill) 05:40 – 06:50: 7 Cinematic 7.0.1 Sequence Change 10:30 – 11:10: 3 Cinematic 06:50 – 07:50: 6 Chase 00:00 – 00:40: 4 Cinematic 07:50 – 08:40: 5 Cinematic Re-recorded because of… 5.3 When in Rome 08:40 – 09:40: 6 Roaming whoa! 00:00 – 04:50: 29 Puzzle 09:40 – 10:30: 5 Cinematic 04:50 – 05:20: 3 Cinematic 7.0.2 Sequence Change 00:00 – 03:20: 20 Roaming

7.0.1 Sequence Change 41:00 – 42:00: 6 Cinematic

39 / 52 7.1.1 Patching the Leak 7.4.1 Intervention 8.4 Demilitarization 00:10 – 02:20: 13 Fight 02:20 – 02:50: 3 Escape 00:00 – 00:40: 4 Cinematic 02:20 – 03:50: 9 Chase (Fol- 02:50 – 03:20: 3 Fight 00:50 – 01:10: 2 Roaming low by Horse) 03:20 – 03:30: 1 Escape 01:10 – 01:40: 3 Cinematic 03:50 – 04:30: 4 Fight 03:30 – 04:30: 6 Cinematic 01:40 – 02:50: 7 Special Fight 04:30 – 04:40: 7 Cinematic 05:40 – 06:40: 6 Chase 04:40 – 05:30: 5 Chase (Fol- 06:40 – 07:10: 3 Cinematic 8.5 Seeing Red low by Horse) 00:00 – 00:30: 3 Cinematic 05:30 – 07:00: 9 Fight 7.4.2 Intervention 00:30 – 01:10: 4 Roaming 07:00 – 07:10: 1 Cinematic 00:50 – 01:40: 5 Chase 01:10 – 02:20: 7 Roaming 07:10 – 08:40: 9 Chase 01:40 – 02:20: 4 Cinematic (Follow) 08:40 – 09:30: 5 Fight 02:30 – 03:00: 3 Roaming 02:20 – 02:50: 3 Cinematic 09:30 – 09:40: 1 Cinematic Blacksmith 02:50 – 05:40: 17 Special 04:00 – 04:20: 2 Roaming Fight 7.1.2 & 7.1.3, Had to do 04:20 – 07:40: 20 Cinematic 08:20 – 08:40: 2 Cinematic side missions to recruit more assassins... Sequence 8 – The 8.6 All Roads lead to… Borgia 00:10 – 00:20: 1 Chase 7.1.4 00:20 – 00:50: 3 Cinematic Side missions 8.0 Sequence Change 00:50 – 03:00: 13 Special 26:20 – 27:00: 4 Cinematic 00:00 – 00:10: 1 Cinematic Fight 00:20 – 00:40: 2 Cinematic 03:00 – 03:10: 1 Roaming 7.2 Calling all Stand-Ins 00:40 – 05:00: 26 Roaming 03:10 – 03:50: 2 Cinematic 00:00 – 00:30: 3 Roaming Borgia Tower 04:00 – 05:20: 8 Cinematic 00:30 – 02:00: 9 Cinematic 10:30 – 10:50: 2 Roaming 02:00 – 03:30: 9 Roaming 10:50 – 12:20: 9 Puzzle 04:30 – 05:30: 6 Puzzle (Climb & Hide) 8.1 Requiem 05:30 – 05:40: 1 Cinematic 00:00 – 02:20: 14 Puzzle 06:00 – 07:50: 11 Puzzle 02:20 – 02:40: 2 Cinematic (Climb & Hide) 02:40 – 06:40: 24 Puzzle 07:50 – 09:30: 10 Roaming 06:40 – 06:50: 1 Cinematic 09:30 – 10:10: 4 Puzzle 06:50 – 15:20: 59 Puzzle 10:10 – 11:20: 7 Fight 11:20 – 13:20: 12 Roaming 8.2 An Apple a Day 14:20 – 14:50: 3 Puzzle 00:00 – 02:40: 16 Cinematic (Climb & Hide) 02:40 – 03:50: 7 Puzzle 14:50 – 15:00: 1 Cinematic 03:50 – 04:20: 3 Cinematic 15:00 – 15:50: 5 Puzzle 04:20 – 04:40: 2 Roaming 15:50 – 16:00: 1 Roaming 04:40 – 04:50: 1 Cinematic 16:00 – 16:30: 3 Cinematic 04:50 – 05:40: 5 Puzzle 05:40 – 05:50: 1 Cinematic 7.3 Exit Stage Right 05:50 – 08:40: 17 Chase 02:20 – 05:30: 19 Puzzle 08:40 – 09:00: 2 Fight 05:30 – 06:50: 8 Cinematic 06:50 – 09:30: 16 Puzzle 8.3 The Apple of Eden 10:40 – 12:40: 12 Puzzle 00:00 – 00:20: 2 Puzzle 12:40 – 13:20: 4 Cinematic 00:20 – 00:50: 3 Cinematic 13:40 – 14:00: 2 Cinematic 01:00 – 03:40: 16 Special Fight

40 / 52 Sequence 9 – The 14:30 – 15:10: 4 Fight 12:10 – 12:30: 2 Puzzle 15:10 – 15:30: 2 Roaming 12:30 – 12:50: 2 Cinematic Fall 15:30 – 15:40: 1 Cinematic 12:50 – 13:10: 2 Puzzle 15:40 – 16:20: 4 Puzzle 13:10 – 14:00: 5 Cinematic 9.1.1 Pax Romana 16:20 – 16:40: 2 Fight 14:00 – 14:30: 3 Puzzle 00:00 – 00:30: 3 Cinematic 16:40 – 17:30: 5 Roaming 14:30 – 14:50: 2 Cinematic 00:30 – 00:40: 1 Fight 17:30 – 17:40: 1 Cinematic 14:50 – 16:50: 12 Puzzle 00:40 – 01:10: 3 Cinematic 17:40 – 22:40: 30 Special 16:50 – 17:10: 2 Cinematic 01:10 – 01:30: 2 Chase (Gal- Fight (Boss) 17:10 – 17:40: 3 Puzzle lop) 22:40 – 23:40: 6 Cinematic 17:40 – 18:40: 6 Cinematic 01:30 – 01:40: 1 Cinematic 18:40 – 18:50: 1 Roaming 01:40 – 02:00: 2 Roaming 9.1.2 Pax Romana 18:50 – 19:20: 3 Cinematic 02:00 – 02:30: 3 Puzzle 18:30 – 20:40: 13 Cinematic 19:20 – 19:40: 2 Roaming 02:30 – 02:50: 2 Fight 19:40 – 20:00: 2 Cinematic 02:50 – 03:50: 6 Puzzle 9.1.3 Pax Romana 20:00 – 20:10: 1 Puzzle 03:50 – 04:30: 4 Fight 00:00 – 01:10: 7 Puzzle 20:10 – 20:20: 1 Cinematic 04:30 – 08:50: 26 Puzzle 01:10 – 03:20: 13 Cinematic 20:20 – 22:50: 15 Puzzle 08:50 – 09:10: 2 Cinematic 03:20 – 08:50: 33 Puzzle 25:00 – 25:20: 2 Puzzle 09:10 – 12:50: 22 Puzzle 08:50 – 09:40: 5 Cinematic 25:20 – 25:30: 1 Cinematic 12:50 – 13:00: 1 Cinematic 09:40 – 11:40: 12 Puzzle 25:30 – 25:40: 1 Roaming 13:00 – 14:30: 9 Puzzle 11:40 – 12:10: 3 Cinematic 25:40 – 28:30: 17 Cinematic

41 / 52 10.1.2 Pacing Charts Sequence 1 – Peace at Last

Figure 19: Assassin’s Creed: Brotherhood – Sequence 1 Sequence 2 – A Wilderness of Tiger

Figure 20: Assassin’s Creed: Brotherhood – Sequence 2 Sequence 3 – The Fighter, The Lover and The Thief

Figure 21: Assassin’s Creed: Brotherhood – Sequence 3 Sequence 4 – Den of Thieves

Figure 22: Assassin’s Creed: Brotherhood – Sequence 4 Sequence 5 – The Banker

Figure 23: Assassin’s Creed: Brotherhood – Sequence 5

42 / 52 Sequence 6 – The Baron de Valois

Figure 24: Assassin’s Creed: Brotherhood – Sequence 6 Sequence 7 – The Key to the Castello

Figure 25: Assassin’s Creed: Brotherhood – Sequence 7 Sequence 8 – The Borgia

Figure 26: Assassin’s Creed: Brotherhood – Sequence 8 Sequence 9 – The Fall

Figure 27: Assassin’s Creed: Brotherhood – Sequence 9

43 / 52 10.2 Tomb Raider 10.2.1 Timestamps

Mission 1 – Mission 4 – Mission 6 – So it begins Woman versus Wild At an Impasse

1 So it begins 4.1 Woman versus Wild 00:00 – 00:10 1 Roaming 00:00 – 03:40: 22 Cinematic 00:00 – 00:40: 4 Roaming 00:10 – 00:40: 3 Fight 03:40 – 4:50: 7 Puzzle 00:40 – 01:10: 3 Puzzle 00:40 – 02:00: 8 Roaming 04:50 – 5:00: 1 Cinematic 01:10 – 01:30: 2 Cinematic 02:00 – 02:20: 2 Fight 05:00 – 05:10: 1 Quick Time 01:30 – 01:40: 1 Roaming 02:20 – 02:50: 3 Roaming Event 03:00 – 03:10: 1 Quick Time 05:10 – 05:40: 3 Roaming 4.2 Woman versus Wild Event 05:40 – 05:50: 1 Puzzle 00:00 – 01:30: 9 Roaming 03:10 – 03:20: 1 Cinematic 05:50 – 06:00: 1 Roaming 01:30 – 02:10: 4 Fight 06:00 – 06:20: 2 Puzzle 02:10 – 03:00: 5 Cinematic Mission 7 – 06:20 – 06:30: 1 Roaming Mountain Rendez- 06:30 – 06:40: 1 Quick Time 4.3 Woman versus Wild Event 00:00 – 00:50: 5 Roaming vous 06:40 – 07:20: 4 Puzzle 01:10 – 02:20: 7 Cinematic 7.1 Mountain Rendezvous Mission 2 – Mission 5 – 00:00 – 00:50: 5 Roaming 00:50 – 02:40: 11 Cinematic Force of Will Just keep moving 03:10 – 04:10: 6 Roaming 04:10 – 04:40: 3 Cinematic 2 Force of Will 5.1 Just keep moving 04:40 – 05:20: 4 Quick Time 00:00 – 00:10: 1 Roaming 00:00 – 01:20: 8 Roaming Event 00:10 – 01:50: 10 Puzzle 01:20 – 02:10: 5 Puzzle 05:20 – 06:10: 5 Cinematic 01:50 – 02:30: 4 Escape 06:10 – 06:50: 4 Roaming 02:30 – 02:40: 1 Quick Time 5.2 Just keep moving 06:50 – 07:20: 3 Cinematic Event 00:00 – 00:10: 1 Puzzle 07:20 – 07:40: 2 Special Fight 02:40 – 03:00: 2 Escape 00:10 – 00:50: 4 Roaming 07:40 – 07:50: 1 Roaming 03:00 – 03:30: 3 Quick Time 00:50 – 03:20: 15 Cinematic 07:50 – 08:10: 2 Quick Time Event 03:20 – 04:20: 6 Fight Event 03:30 – 04:10: 4 Cinematic 04:20 – 06:00: 10 Cinematic 08:10 – 08:30: 2 Roaming 04:10 – 04:30: 2 Roaming 06:10 – 06:30: 2 Roaming 08:30 – 08:40: 1 Fight 06:30 – 06:40: 1 Fight 08:40 – 09:10: 3 Roaming Mission 3 – 06:40 – 07:20: 4 Roaming 09:10 – 09:30: 2 Fight Signs of Life 07:20 – 08:10: 5 Cinematic 09:30 – 10:50: 8 Roaming 11:30 – 11:40: 1 Roaming 3.1 Signs of Life 11:40 – 12:10: 3 Fight 00:00 – 01:30: 9 Roaming 12:10 – 12:20: 1 Roaming 01:30 – 01:50: 2 Cinematic 12:20 – 12:50: 3 Puzzle 01:50 – 02:10: 2 Roaming 12:50 – 13:00: 1 Roaming 02:10 – 02:40: 3 Cinematic 14:00 – 15:50: 11 Fight 15:50 – 16:30: 4 Roaming 3.2 – Signs of Life 00:00 – 00:30: 3 Roaming 00:30 – 05:30: 30 Cinematic

44 / 52 7.2 Mountain Rendezvous 8.6 Cry for Help Mission 10 – 00:00 – 00:50: 5 Roaming 00:00 – 01:00: 6 Roaming 00:50 – 03:10: 14 Cinematic 01:20 – 01:30: 1 Roaming Guilty Conscience 01:30 – 01:40: 1 Quick Time 10.1 Guilty Conscience Mission 8 – Event 00:00 – 00:20: 2 Roaming 01:40 – 06:50: 31 Fight Cry for Help 00:20 – 01:00: 4 Fight 06:50 – 07:10: 2 Cinematic 01:00 – 02:20: 8 Roaming 07:10 – 07:30: 2 Special Fight 8.1 Cry for Help 02:20 – 02:30: 1 Fight 07:30 – 09:00: 9 Roaming 00:00 – 03:10: 19 Roaming 02:30 – 04:20: 11 Roaming 09:30 – 09:50: 2 Roaming 03:10 – 03:20: 1 Cinematic 04:20 – 04:30: 1 Quick Time 09:50 – 10:00: 1 Cinematic Event 10:00 – 10:10: 1 Roaming 8.2 Cry for Help 04:30 – 04:40: 1 Cinematic 10:10 – 10:20: 1 Cinematic 00:00 – 00:10: 1 Roaming 04:30 – 04:50: 2 Roaming 10:20 – 10:30: 1 Roaming 00:10 – 00:30: 2 Quick Time 10:30 – 10:40: 1 Cinematic Event 10.2 Guilty Conscience 10:40 – 10:50: 1 Roaming 01:00 – 01:40: 4 Roaming 00:00 – 00:40: 4 Roaming 10:50 – 12:10: 8 Cinematic 01:40 – 04:10: 15 Cinematic 01:40 – 02:30: 5 Roaming 12:10 – 12:40: 3 Puzzle 04:10 – 04:20: 1 Roaming 02:30 – 03:30: 6 Cinematic 12:40 – 13:40: 6 Cinematic 03:30 – 03:40: 1 Puzzle 13:40 – 13:50: 1 Roaming 8.3 Cry for Help 03:40 – 04:10: 3 Cinematic 00:00 – 01:20: 8 Roaming 01:20 – 02:10: 5 Fight 8.7 Cry for Help Mission 11 – 02:10 – 04:20: 13 Roaming 00:00 – 00:20: 2 Roaming 00:20 – 00:30: 1 Cinematic Another fine Mess 8.4 Cry for Help 00:30 – 01:10: 4 Puzzle 11 Another fine Mess 00:00 – 00:10: 1 Roaming 01:10 – 01:40: 3 Cinematic 00:10 – 00:30: 2 Roaming 00:10 – 01:00: 5 Fight 01:40 – 02:20: 4 Escape 00:30 – 00:50: 2 Cinematic 01:00 – 01:40: 4 Roaming 02:20 – 02:40: 2 Cinematic 00:50 – 01:30: 4 Roaming 01:40 – 05:40: 24 Cinematic 02:40 – 03:00: 2 Roaming 01:30 – 01:40: 1 Cinematic 07:00 – 07:20: 2 Roaming 03:00 – 03:30: 3 Escape 01:40 – 02:10: 3 Roaming 07:20 – 09:40: 14 Fight 03:30 – 03:50: 2 Cinematic 02:10 – 04:00: 11 Cinematic 09:40 – 10:30: 5 Roaming 03:50 – 04:10: 2 Special Fight 04:00 – 04:40: 4 Fight 10:30 – 11:00: 9 Fight 04:10 – 04:30: 2 Roaming 04:40 – 07:00: 14 Roaming 11:00 – 11:30: 3 Roaming 04:50 – 05:10: 2 Roaming 07:00 – 07:30: 3 Fight

07:30 – 08:00: 3 Special Fight 8.5 Cry for Help Mission 9 – 08:00 – 08:20: 2 Roaming 00:00 – 00:50: 5 Roaming A Road less travelled 08:20 – 08:30: 1 Fight 00:50 – 01:30: 4 Fight 08:30 – 08:40: 1 Roaming 01:30 – 02:00: 3 Roaming 9 A Road less travelled 08:40 – 09:50: 7 Puzzle 02:00 – 02:20: 2 Fight 00:00 – 00:10: 1 Roaming 09:50 – 10:40: 5 Fight 02:20 – 02:50: 3 Roaming 00:10 – 00:20: 1 Special Fight 10:40 – 11:10: 3 Puzzle 02:50 – 03:50: 6 Puzzle 00:20 – 00:30: 1 Cinematic 11:10 – 11:30: 2 Cinematic 03:50 – 04:10: 2 Cinematic 00:30 – 00:40: 1 Special Fight 11:40 – 12:20: 4 Escape 04:10 – 04:30: 2 Roaming 00:40 – 01:20: 4 Fight 12:20 – 13:40: 8 Cinematic 04:30 – 05:20: 5 Special Fight 01:20 – 01:40: 2 Roaming 05:20 – 05:50: 3 Roaming 01:40 – 02:00: 2 Puzzle 05:50 – 06:00: 1 Fight 02:00 – 03:20: 8 Roaming 06:00 – 06:10: 1 Roaming 03:20 – 04:30: 7 Cinematic 06:10 – 07:20: 7 Cinematic

45 / 52 Mission 12 – Mission 15 – Mission 17 – A Friend in Need Liberator Into the Fire

12.1 A Friend in Need 15 Liberator 17.1 Into the Fire 00:00 – 00:20: 2 Roaming 21:50 – 22:50: 6 Roaming 00:00 – 01:50: 11 Escape 01:20 – 02:30: 7 Roaming 22:50 – 25:00: 13 Fight 01:50 – 02:20: 3 Cinematic 02:30 – 03:10: 4 Fight 25:00 – 25:40: 4 Roaming 02:20 – 02:40: 2 Roaming 03:10 – 03:40: 3 Roaming 25:40 – 25:50: 1 Cinematic 02:40 – 03:00: 2 Fight 03:40 – 04:30: 5 Cinematic 25:50 – 28:50: 18 Fight 03:00 – 03:20: 2 Roaming 28:50 – 29:40: 5 Cinematic 03:20 – 06:30: 19 Cinematic 12.2 A Friend in Need 29:40 – 31:00: 2 Roaming 06:30 – 07:50: 8 Fight 00:00 – 00:10: 1 Roaming 31:00 – 32:40: 10 Cinematic 07:50 – 08:00: 1 Cinematic 00:10 – 00:50: 4 Fight 32:40 – 32:50: 1 Roaming 08:00 – 08:30: 3 Special Fight 00:50 – 01:00: 1 Roaming 33:30 – 36:20: 17 Roaming 08:30 – 08:50: 2 Roaming 01:00 – 01:50: 5 Fight 36:20 – 36:40: 2 Cinematic 08:50 – 09:50: 6 Fight 01:50 – 02:40: 5 Roaming 37:30 – 38:00: 3 Escape 09:50 – 10:00: 1 Special Fight 03:30 – 04:00: 3 Escape 38:00 – 39:00: 6 Roaming 10:00 – 10:20: 2 Fight 04:00 – 04:20: 2 Cinematic 10:20 – 10:40: 2 Roaming 04:20 – 04:30: 1 Quick Time Mission 16 – 10:40 – 11:50: 7 Special Fight Event No One left behind 11:50 – 12:20: 3 Cinematic 05:00 – 05:20: 2 Escape 12:20 – 12:30: 1 Quick Time 05:20 – 06:00: 4 Cinematic 16.1 No One left behind Event 00:00 – 00:30: 3 Roaming 12:30 – 12:50: 2 Cinematic Mission 13 – 00:30 – 03:50: 20 Cinematic 12:50 – 14:40: 11 Fight Open Wounds 03:50 – 04:50: 6 Roaming 15:00 – 15:50: 5 Roaming 05:20 – 05:30: 1 Roaming 15:50 – 16:00: 1 Cinematic 13 Open Wounds 05:30 – 05:50: 2 Cinematic 16:00 – 16:10: 1 Roaming 00:00 – 01:30: 9 Roaming 05:50 – 07:50: 12 Roaming 16:10 – 18:30: 14 Fight 01:30 – 02:50: 8 Fight 07:50 – 08:10: 2 Puzzle 18:30 – 18:50: 2 Roaming 02:50 – 03:30: 4 Roaming 08:10 – 08:40: 3 Roaming 18:50 – 20:50: 12 Special 03:30 – 04:00: 3 Fight 08:40 – 09:20: 4 Fight Fight 04:00 – 04:20: 2 Roaming 09:20 – 09:40: 2 Roaming 20:50 – 21:00: 1 Roaming 04:20 – 07:10: 17 Cinematic 09:40 – 10:30: 5 Fight 21:00 – 21:20: 2 Cinematic 07:10 – 09:50: 16 Fight 10:30 – 11:10: 4 Puzzle 10:20 – 11:20: 6 Roaming 11:20 – 11:40: 2 Puzzle 17.2 Into the Fire 11:20 – 12:10: 5 Special Fight 11:40 – 12:00: 2 Roaming 00:00 – 00:30: 3 Roaming 12:10 – 13:00: 5 Roaming 12:00 – 13:50: 11 Fight 00:30 – 00:50: 2 Escape 13:00 – 13:10: 1 Cinematic 13:50 – 14:20: 3 Roaming 00:50 – 01:00: 1 Roaming 14:20 – 15:20: 6 Fight Mission 14 – 15:20 – 15:40: 2 Roaming Mission 18 – Highway to Hell 15:40 – 16:10: 3 Puzzle Get to the Chopper 16:10 – 16:30: 2 Escape 14 Highway to Hell 17:50 – 19:10: 8 Fight 18 Get to the Chopper 14:20 – 15:10: 5 Fight 19:10 – 20:00: 5 Cinematic 00:00 – 00:20: 2 Cinematic 15:10 – 16:00: 5 Roaming 20:00 – 22:50: 17 Puzzle 00:20 – 00:30: 1 Escape 16:00 – 16:40: 4 Puzzle 22:50 – 23:00: 1 Cinematic 00:30 – 00:40: 1 Quick Time 17:30 – 18:10: 4 Roaming Event 18:10 – 18:30: 2 Chase 16.2 No One left behind 00:40 – 01:00: 2 Escape 18:30 – 18:40: 1 Cinematic 00:00 – 00:30: 3 Puzzle 01:00 – 02:20: 8 Parkour (Es- 18:40 – 21:20: 16 Fight cape) 21:20 – 21:50: 3 Cinematic 02:20 – 10:10: 47 Cinematic

46 / 52 Mission 19 – Mission 22 – Mission 23 – Some Time alone Gone missing Storm Chaser

19.1 Some Time alone 22.1 Gone missing 23.1 Storm Chaser 00:00 – 00:30: 3 Roaming 00:00 – 00:50: 5 Roaming 00:00 – 01:20: 8 Roaming 02:20 – 03:00: 4 Roaming 00:50 – 01:40: 5 Fight 03:00 – 06:50: 23 Fight 01:40 – 02:20: 4 Roaming 23.2 Storm Chaser 06:50 – 07:30: 4 Roaming 00:00 – 02:40: 16 Roaming 07:30 – 08:20: 5 Fight 22.2 Gone missing 02:40 – 03:20: 4 Fight 08:20 – 08:50: 3 Roaming 00:00 – 00:10: 1 Roaming 03:20 – 06:50: 21 Roaming 08:50 – 09:30: 4 Puzzle 00:10 – 01:10: 6 Fight 06:50 – 07:30: 4 Fight 09:30 – 11:10: 10 Roaming 01:10 – 01:20: 1 Roaming 07:30 – 07:50: 2 Roaming 01:20 – 01:30: 1 Fight 07:50 – 14:20: 39 Puzzle 19.2 Some Time alone 01:30 – 03:50: 14 Roaming 14:20 – 14:40: 2 Roaming 00:00 – 01:10: 7 Roaming 03:50 – 07:10: 20 Fight 14:40 – 14:50: 1 Fight 01:10 – 01:50: 4 Cinematic 07:10 – 07:40: 3 Special Fight 14:50 – 15:30: 4 Roaming 07:40 – 08:10 3 Roaming 15:30 – 17:40: 13 Cinematic Mission 20 – 08:10 – 08:50: 4 Fight 17:40 – 18:00: 2 Roaming Fast Way down 08:50 – 09:20: 3 Special Fight 19:20 – 20:00: 4 Fight 09:20 – 09:40: 2 Roaming 20:00 – 21:40: 10 Roaming 20 Fast Way down 09:40 – 12:30: 17 Fight 21:40 – 22:10: 3 Fight 01:50 – 03:10: 8 Roaming 12:30 – 12:50: 2 Roaming 22:10 – 23:20: 7 Roaming 03:10 – 06:00: 17 Fight 12:50 – 13:30: 4 Fight 23:20 – 25:00: 10 Cinematic 06:00 – 06:30: 3 Cinematic 13:30 – 14:20: 5 Roaming 06:30 – 07:00: 3 Parkour (Es- 14:50 – 15:40: 5 Roaming Mission 24 – cape) 15:40 – 16:20: 4 Fight Going back in 07:00 – 07:30: 3 Cinematic 16:20 – 17:40: 8 Special Fight 07:30 – 08:10: 4 Escape 17:40 – 17:50: 1 Cinematic 24.1 Going back in 08:10 – 09:10: 6 Roaming 17:50 – 18:40: 5 Roaming 00:00 – 02:00: 12 Cinematic 09:10 – 10:20: 7 Cinematic 18:40 – 19:00: 2 Cinematic 02:00 – 02:20: 2 Roaming 19:00 – 19:20: 2 Roaming 02:20 – 03:40: 8 Cinematic Mission 21 – 19:20 – 20:30: 7 Fight 03:40 – 06:10: 15 Roaming A Pirate’s Life 20:30 – 21:20: 5 Roaming 06:10 – 06:30: 2 Cinematic 21:20 – 23:50: 15 Puzzle 06:30 – 06:50: 2 Escape 23:50 – 25:20: 9 Cinematic 21.1 A Pirate’s Life 06:50 – 07:30: 4 Fight 25:20 – 25:30: 1 Escape 00:00 – 01:00: 6 Roaming 07:30 – 07:50: 2 Roaming 25:30 – 25:40: 1 Cinematic 01:00 – 01:50: 5 Fight 09:40 – 10:10: 3 Roaming 25:40 – 26:40: 6 Roaming 01:50 – 02:40: 5 Roaming 26:40 – 27:10: 3 Cinematic 24.2 Going back in

21.2 A Pirate’s Life 00:00 – 00:30: 3 Roaming 22.3 Gone missing 00:00 – 00:10: 1 Roaming 00:30 – 01:00: 3 Cinematic 00:00 – 02:10: 13 Roaming 00:10 – 01:00: 5 Fight 01:00 – 06:30: 33 Fight 02:10 – 02:40: 3 Fight 01:00 – 02:10: 7 Roaming 06:30 – 07:10: 4 Roaming 02:40 – 03:00: 2 Escape 02:10 – 04:30: 14 Cinematic 07:10 – 07:30: 2 Cinematic 03:00 – 05:10: 13 Cinematic 05:40 – 07:10: 9 Roaming 07:30 – 07:50: 2 Roaming 08:10 – 08:30: 2 Roaming 08:30 – 11:20: 17 Puzzle 11:20 – 12:20: 6 Cinematic 12:20 – 13:10: 5 Roaming

47 / 52 24.3 Going back in 07:30 – 07:40: 1 Chase 12:30 – 13:00: 3 Chase 00:00 – 00:30: 3 Roaming 08:20 – 08:40: 2 Fight 13:00 – 13:30: 3 Cinematic 00:30 – 01:30: 6 Cinematic 08:40 – 09:30: 5 Special Fight 13:30 – 15:30: 12 Special 01:30 – 02:30: 6 Roaming 09:30 – 09:40: 1 Fight Fight 02:30 – 03:00: 3 Puzzle 09:40 – 09:50: 1 Chase 15:30 – 15:40: 1 Chase 03:00 – 03:10: 1 Roaming 09:50 – 10:10: 2 Cinematic 15:40 – 16:00: 2 Cinematic 03:40 – 05:40: 12 Parkour 10:10 – 10:20: 1 Chase 16:00 – 16:40: 4 Quick Time (Escape) 10:20 – 11:10: 5 Fight Event 05:50 – 06:50: 6 Parkour (Es- 11:10 – 12:00: 5 Special Fight 16:40 – 21:00: 26 Cinematic cape) 12:00 – 12:20: 2 Chase 06:50 – 07:30: 4 Cinematic 12:20 – 12:30: 1 Cinematic

10.2.2 Pacing Charts Mission 1 – So it begins

Figure 28: Tomb Raider – Mission 1: So it begins Mission 2 – Force of Will

Figure 29: Tomb Raider – Mission 2: Force of Will Mission 3 – Signs of Life

Figure 30: Tomb Raider – Mission 3: Signs of Life Mission 4 – Woman versus Wild

Figure 31: Tomb Raider – Mission 4: Woman versus Wild Mission 5 – Just keep moving

Figure 32: Tomb Raider – Mission 5: Just keep moving Mission 6 – At an Impasse

Figure 33: Tomb Raider – Mission 6: At an Impasse 48 / 52 Mission 7 – Mountain Rendezvous

Figure 34: Tomb Raider – Mission 7: Mountain Rendezvous Mission 8 – Cry for Help

Figure 35: Tomb Raider – Mission 8: Cry for Help Mission 9 – A Road less travelled

Figure 36: Tomb Raider – Mission 9: A Road less travelled Mission 10 – Guilty Conscience

Figure 37: Tomb Raider – Mission 10: Guilty Conscience Mission 11 – Another fine Mess

Figure 38: Tomb Raider – Mission 11: Another fine Mess Mission 12 – A Friend in Need

Figure 39: Tomb Raider – Mission 12: A Friend in Need Mission 13 – Open Wounds

Figure 40: Tomb Raider – Mission 13: Open Wounds

49 / 52 Mission 14 – Highway to Hell

Figure 41: Tomb Raider – Mission 14: Highway to Hell Mission 15 - Liberator

Figure 42: Tomb Raider – Mission 15: Liberator Mission 15 – No One left behind

Figure 43: Tomb Raider – Mission 16: No One left behind Mission 17 – Into the Fire

Figure 44: Tomb Raider – Mission 17: Into the Fire Mission 18 – Get to the Chopper

Figure 45: Tomb Raider – Mission 18: Get to the Chopper Mission 19 – Some Time alone

Figure 46: Tomb Raider – Mission 19: Some Time alone Mission 20 – Fast Way down

Figure 47: Tomb Raider – Mission 20: Fast Way down

50 / 52 Mission 21 – A Pirate’s Life

Figure 48: Tomb Raider – Mission 21: A Pirate’s Life Mission 22 – Gone missing

Figure 49: Tomb Raider – Mission 22: Gone missing Mission 23 – Storm Chaser

Figure 50: Tomb Raider – Mission 23: Storm Chaser Mission 24 – Going back in

Figure 51: Tomb Raider – Mission 24: Going back in

51 / 52 10.3 Digital Copy and Backup Material

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