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Page | 1-2 Page | 1-3 Authorisation for writing the thesis in English Page | 1-4 Faculty of Communication and Psychology Aalborg University Project title: The Glue of Narratives – Indirect Storytelling in a Digital World Semester: Project period: 10. Semester, Master’s thesis 1st January 2016 – 31st May 2016 Supervisor: Number of pages: Ole Ertløv Hansen 111,99 Pages (268.769 Characters) Kenni Kirkegaard Hornstrup Lars Kiesbye Bendixen Peter Skov Klitgaard Madsen Page | 1-5 Resume This thesis has been made by three Interactive Digital Media students with two different bachelor backgrounds. One who has a bachelor degree in IT with a focus on business and the other two with a bachelor degree in Medialogy. The thesis take roots in the Unified Theory made by Ralph and Monu (2015), which is a way to describe the interaction between the Players, the Artifact (the video game and delivery devices) and the Experience this interaction produces. The thesis aims to investigate four different research question: 1. How do video games relay narratives and enjoyment, and in what way do different aspects of the video game experiences work in conjunction with one another? 2. Which narrative mechanics are used to indirectly emphasise video game narratives and are these indirect methods represented in video game models? 3. What can be used to indirectly emphasise video game narratives outside fields of study or content production? 4. How are non-fundamental elements of video game mechanics or narratives represented and functioning within video game design? In order to answer the research questions it uses, as mentioned, the Unified Theory by Ralph & Monu (2015) as a base. To ensure the validity of their theory, we compared some of their definitions to other authors on the subject of video games. As part of this process we found certain aspects were not accounted for in Ralph & Monu’s (2015) theory, such as certain implicit narrative methods: Environmental Storytelling, Guidance, Form & Colour, Animation among others. In order to include these, we suggested Emergent Mechanics as a concept and its inclusion into the model. The definition is as follows: Emergent Mechanics: Rationalised design choices made in order to promote certain desirable Emergent- and Interpreted Narratives in relations to Game Mechanics and Embedded Narratives. Page | 1-6 Many of the techniques that fit into the description of Emergent Mechanics were explored throughout the thesis. In addition, the Unified Theory (Ralph & Monu, 2015) and the suggested Emergent Mechanics were discussed through an online fora with people in and around the game industry. This was done in order to ensure the validity of Emergent Mechanics as a categorisation for the previously mentioned techniques. This discussion raised the issue of the chosen naming, as people with different backgrounds were inclined to suggest different names for the categorisation. The thesis concludes the definition is functional as a concept, but the naming may need re-evaluation. Page | 1-7 Preface This master’s thesis is composed by Kenni Kirkegaard Hornstrup, Lars Kiesbye Bendixen and Peter Skov Klitgaard Madsen. A group of students studying Interactive Digital Media at Aalborg University. The project period were from 1st of January 2016 to 31st of May 2016. Every member of the group is motivated by hopes of entering the video game industry after completion of the education. They were a part of the DADIU program before writing this thesis, but with different roles: Project Manager, Game Designer and Level Designer. The thesis itself revolves around video games and the use of implicit communication to affect player behaviour. The personal goal of the thesis was to acquire knowledge to better understand and create video games in the future. Reading guide We expect the reader to have some knowledge on the subject of video games, but we have included a glossary, explaining commonly used terms. Ralph & Monu’s (2015) suggested Unified Theory has been used as the lens of this thesis. We have written the words describing the central classes of their theory in bold throughout the thesis, these are Players, Experience, Artifacts, Interpreted Narratives, Emergent Narratives, Dynamics, Aesthetics, Technology and Embedded Narrative. In addition we have written our contribution, Emergent Mechanics in bold as well. Quotes are written as “quote” followed by author and page number, unless the quote is used as part of a table, in which case it will be written in the normal font, with the source it was adapted from displayed in the figure caption. Titles of books are written in italic with “quotation marks”, followed by the source of the book or with the source in the same sentence, as specified by APA6 standards. Page | 1-8 Any screenshots from video games are captured by the group, unless anything else has been specified at the individual screenshot. Video Games can be abstract things to reference. This is because iterations may add significant changes to a game. Because of this abstract nature, we will refer to the newest iteration that we are aware of, of the individual games mentioned during this thesis. In certain cases, it may be necessary for us to reference a certain iteration, in which case the year for that iteration will be mentioned. Likewise, we may need to reference a sequence of iterations in which case the necessary starting and ending year of the game will be mentioned. E.g. World of Warcraft (Blizzard Entertainment, 2004-2016) may be different depending on which iteration of the game is being played. Special thanks to: Our supervisor Ole Ertløv Hansen The Player of Games (Facebook group) The Academic Employee of AUB Tina Andersen And the lectors and educators at Interactive Digital Media Aalborg Kenni Hornstrup Lars Kiesbye Bendixen Peter Skov Madsen Page | 1-9 Table of Contents Chapter 1 Introduction ........................................................................................................ 1-13 1.1 Motivation .................................................................................................................. 1-13 1.2 Area of Interest ........................................................................................................... 1-17 1.3 Problem Area .............................................................................................................. 1-21 1.4 Problem Statement .................................................................................................... 1-23 Research questions ....................................................................................................... 1-23 Chapter 2 Method and Approach ........................................................................................ 2-25 2.1 Research Methodology .............................................................................................. 2-25 2.2 Literature Approach ................................................................................................... 2-30 2.3 Project Management Tools ........................................................................................ 2-33 2.4 Unified Theory of Digital Games ................................................................................ 2-40 2.5 Summary ..................................................................................................................... 2-49 Chapter 3 Theoretical Framework and Definitions ............................................................. 3-51 3.1 Exploring Game Narratives ......................................................................................... 3-53 3.2 Aesthetics ................................................................................................................... 3-90 3.3 Game Mechanics, Narrative Mechanics and Guidance ............................................. 3-96 3.4 Suggestion: Emergent Mechanics ............................................................................ 3-104 3.5 Summary and partial conclusion .............................................................................. 3-108 Chapter 4 Emergent Mechanics ......................................................................................... 4-111 4.1 Interactivity and Increased Emergence .................................................................... 4-112 4.2 Mise-en-scene .......................................................................................................... 4-114 4.3 Form and Colour Interpretation ............................................................................... 4-116 4.4 The Camera............................................................................................................... 4-121 4.5 Animation ................................................................................................................. 4-123 4.6 Environmental storytelling and Guidance ................................................................ 4-128 4.7 Uncharted ................................................................................................................. 4-131 4.8 Summary ................................................................................................................... 4-138 Chapter 5 Case Studies to Identify Emergent Mechanics.................................................. 5-139 Page | 1-10 5.1 Limbo ........................................................................................................................ 5-140 5.2 Journey ....................................................................................................................
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