Abstract
We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology. Ultimately, we present the story beat as a ludonarrative unit, working simultaneously as a ‘unit operation’ in the study of games as systems, and as a microunit of character action in narrative analysis. The conclusion outlines prospective directions for using story beats in formal, experiential, and cultural game research.
Highlights
We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames
In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology
We are not abandoning the narrative focus, sticking to the idea of the story beat as a unit of dramatic action involving imaginary characters, but we will approach it through the formal lens of games-as-systems, and the experiential lens of player action
Summary
The GARO structural model for story beats[3] has four parts: (G) Goal: what the acting character is trying to achieve in terms of story values. 5:23 Action: Technical G: to restore signal to TT / A: PC reaches to pull the shard / R: the shard is removed / O: signal restored, a message from TT announces help will arrive in 180 seconds (story values: “jammed/unjammed” for the signal, which translates to “not coming/coming” ambulance crew, which is again linked to “alive/dead” for the girl, whose survival depends on quick hospitalisation) In these examples, we trace beats of dramatic action involving all the characters, including PC’s partners and enemy boss. Emotes in World of Warcraft include /amazed, /bored, /confused, /cry, /disappointed, /fear, /glad, and more of the kind (alongside many FEEL/SAY and FEEL/INTERACT ones; see 3.0) For his talk at GamesLit 2018 conference, Mochocki searched for examples of pure FEEL-actions driving story beats, especially those granting the choice of FEEL to the player.
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