Title: Achieving Synchronicity Between Game Mechanics and Narrative in

Interactive Experiences
Introduction

In the subsequent discussion, the focal point is the exploration of the intricate relationship between
narrative game design and the functionality of game mechanics. Emphasizing the pivotal role of a
dedicated team in shaping video game narratives before production commences is central to ensuring
that resources are allocated judiciously to well-defined gameplay sequences, directing the production
toward clear objectives.

This paper contends that interactive experiences seeking to employ drama to emotionally engage players
necessitate a distinctive approach compared to conventional video games. By strategically aligning game
sequences with narrative elements, it is possible to create a coherent emotional journey for players,
which simultaneously enhances their mechanical satisfaction. This can be achieved through close
collaboration between writers and lead game designers, who jointly construct a continuous narrative
that fortifies player immersion, agency, and transformation.

Furthermore, we delve into the challenge of engaging players with narrative while respecting their
agency, proposing that storytellers should acknowledge the systemic nature of video games and exploit
the inherent rule-sets to construct compelling dramatic sequences. This discussion will ultimately lead to
an exploration of the theory of rules and their indispensability in game design.

Before concluding, we will briefly outline the pre-production methodology employed by Naughty Dog, as
exemplified by the critically acclaimed "Uncharted 2: Among Thieves."

The Nature of the Interactive Medium

The inception of a new medium often comes with uncertainty about its potential and purpose. During
the arcade era, video games were primarily marketed as sources of fun for brief, addictive gameplay
sessions. This initial outlook has perpetuated an incomplete understanding of video games as a narrative
medium.

The question of why we play video games is multifaceted. While many players seek pure enjoyment, the
concept of "fun" can be rather shallow. Video games have the capacity to offer more than simple
entertainment; they can provide meaningful and memorable experiences. Acknowledging this, the
terminology surrounding video game experiences should evolve beyond "fun" to encompass more
profound descriptors like "compelling" and "engaging."

This perspective aligns with Malaby's argument that we should refrain from preconceived notions of
what constitutes "fun" in the context of interactive entertainment. Additionally, scholars like
Schwartzman, who failed to distinguish between "work" and "play," are contrasted with Callois, who
views play as "an occasion of pure waste.

Murray's notion of "cyberdrama" highlights the importance of player immersion, agency, and
transformation in interactive experiences. Immersion involves believing in the elements of drama,
aesthetics, and game rule-sets. Agency pertains to meaningful choices and self-reflection, while
transformation encompasses the sense of a continuous progression driven by dramatic patterns.
The Role of Storytelling

One of the commonalities between video games and films is escapism. People engage with both
mediums to escape reality temporarily, suspending disbelief and immersing themselves in alternative
worlds. This quest for escapism is driven by the human desire to learn in a safe environment, free from
real-world consequences.

Learning is a fundamental human instinct, and it plays a pivotal role in our survival as a species. We
evolve by overcoming challenges, learning from our failures, and adapting to new circumstances. This
innate drive to learn and adapt underscores our pursuit of happiness and fulfillment, seeking partners
with desirable physical, cognitive, and emotional attributes.

Csikszentmihalyi's concept of "Flow" describes a state of complete immersion in an activity where

individuals believe in their ability to perform it, lose track of time, and are unaware of their physical
presence. Flow is essential in video games, and when game design aligns with its principles, any content
can become rewarding and engaging.

Learning in video games extends beyond the primitive level of enhancing physical and cognitive abilities.
Humans are complex beings with emotions, values, and beliefs. We seek happiness, and our actions aim
to achieve a state of contentment within our society. Films and other forms of dramatic work serve the
purpose of testing our morality, values, and beliefs, challenging our perspectives on human nature and
the world. Through relatable characters and engaging narratives, they shape our identities and inspire us
to overcome challenges.

Narrative Structure

Narrative structure is a fundamental element of storytelling, as it provides direction and purpose to a

narrative. Lajos Egri argues that narratives without direction lead to pointless dialogue and actions that
do not advance the story's premise. Scholars like Aristotle, Joseph Campbell, and Christopher Vogler
have explored plot by studying mythology and the enduring narratives within it. These studies have
unveiled essential patterns that provide direction to various forms of dramatic work, inspiring narrative
innovation in mediums like film and, increasingly, video games.

Video games present an additional layer of purposefulness through structured interactive worlds that
players can influence with meaningful choices. However, the actions possible within the game world are
constrained by rules, which form the foundation of every video game.

The Challenge of Video Game Storytelling

The central challenge in video game storytelling is to find techniques that allow writers to realize their
narrative visions without disrupting the interactive nature of the medium. For years, designers relied
heavily on film to learn principles of linear storytelling, which did not fully harness the potential of
interactive media.

Playable Sequences

Some video games employ linear, playable sequences to establish the dramatic context for player
actions. These sequences serve the purpose of immersing players in the game world and conveying
backstory. However, when these sequences involve the player's character performing heroic acts without
their input, it can lead to player disengagement. The player should feel actively engaged in overcoming
obstacles to maintain a sense of reward and connection to the experience.

Lack of player agency can be justified when it aligns with the narrative themes of the game. For instance,
"Bioshock" explores player loss of control over actions after picking up a plasmid, a narrative beat that
drives the game's plot.

Ultimately, the disruption of player agency occurs when a core game mechanic, governed by rules, is not
utilized to resolve an expected interactive dramatic sequence. This raises the importance of defining
rules and their role in constructing a map of possible outcomes.

Purpose of Rules

In his work, Rowan Tulloch challenges the prevailing notion that rules inhibit freedom in games. He
argues that rules serve as constructive forces that give meaning to player actions and allow games to
proceed. This perspective aligns with Jesper Juul's ideas expressed in "Half-Real." Rules, inspired by real-
world behaviors, establish expectations and potential outcomes. Creative designers can exaggerate these
rules to create context-sensitive game mechanics while maintaining a balanced system of behaviors that
players can respect.

Dramatic Interaction

Interactive sequences in video games should offer players the freedom to react to increasingly
challenging circumstances using their knowledge of rules and behaviors. If players misinterpret
situations, leading to unfavorable outcomes, they should feel responsible for their choices and have the
opportunity to learn from their mistakes. Players should generally be able to apply the actions and tools
they have learned to overcome unfavorable situations.

Dramatic Synchrony

Tevis Thompson, an enthusiast of the Zelda franchise, articulated in his critique of Skyward Sword (2011)
that the fundamental purpose of a hero's adventure transcends mere self-satisfaction. Instead, it is a
journey of personal growth, a quest to conquer challenges and genuinely become a better individual.

While mechanical progression remains a vital component in many single-player games, the
harmonization of mechanics with narrative progression, transformation, and their capacity to inspire
emotionally charged playable sequences has been conspicuously overlooked and underexplored. To
illustrate the concept of dramatic synchrony, the case of Uncharted 2 (2011) shall serve as an example.

Envision a scenario where Nathan Drake, the player character, sustains a gunshot wound. The mechanics
of shooting and the player's inability to avoid injury inevitably lead to an unfavorable situation, an
outcome triggered by the player's lack of skill. Subsequently, a sequence ensues in which the player
comprehends that Drake's climbing abilities are compromised. This consequence logically stems from
previous interactions.

Designers and writers can enhance this scenario with dramatic elements, providing the player with an
emotional incentive to surmount the adversities resulting from Drake's injury. A non-playable character
in whom the player has invested emotionally might require assistance, and the failure to reach them
promptly could culminate in tragedy. This impels the player to confront daunting challenges, fostering a
sense of motivation and determination. Success in overcoming these obstacles not only rewards the
player mechanically but also enriches the narrative, creating a harmonious blend of gameplay and
storytelling.

Pre-Production

Development teams that have achieved captivating narratives in their games often adopt a streamlined
committee approach during pre-production. In the case of Uncharted 2 (2011), this committee consisted
of writer Neil Druckmann, lead cinematic animator Josh Scherr, creative director Amy Henning, and
game director Bruce Straley.

Druckmann has outlined the pre-production process at Naughty Dog in an interview (2011), revealing
that it typically commences with the formulation of a premise. For Uncharted 2, the premise revolved
around historical cues, specifically Marco Polo's journey, and the protagonist's affiliation with thieves.
Subsequently, the team proceeds to outline the dramatic structure of the player's journey, a concept
Druckmann labels as the "basic flow of the game" and the fundamental trajectory of the characters.

Informed by a deep understanding of the game's core mechanics, the committee generates a concise
document detailing a series of continuous sequences, referred to as "Macro Design." This document,
crafted prior to any actual writing, encapsulates crucial information regarding the game's playable
segments. It functions as a narrative blueprint, guiding the development towards the substantiation of
the initial premise. Within this pre-production methodology, the synergy between the two narrative arcs
is shaped by the characters intertwined with the game's plot.

Conclusion

Reflecting upon the theories of flow, dramatic structure, rules, and agency, it is apparent that engaging
players through transformative playable sequences holds significant untapped potential. The primary
obstacle, in my perspective, is the preconceived notion of video game purpose. This perception is further
complicated by the persistent discord between ludologists and narratologists, as they grapple to
establish a balanced framework, one that draws inspiration from various artistic mediums.

Should writers embrace the underlying purpose of rules and be granted the freedom to seamlessly
embed narrative into game worlds and characters, the result is likely to be more engaging and immersive
narratives. An increased understanding of the player's agency allows for its deliberate integration,
enriching the overall experience.

Notably, Rhianna Pratchett, acclaimed as the writer of Tomb Raider, has expressed concerns about the
integration of writers into the game development process. She laments that the industry is still
navigating the optimal utilization of narrative professionals, with some instances of misapplication.
However, she acknowledges that the profession of writing for games is nascent within a relatively
youthful industry, emphasizing the necessity for earlier involvement, as well as an expanded sphere of
influence and respect for writers in this field.

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