Games and Narrative: An Analytical Framework

This analysis addresses the academic tension between ludology and narratology by identifying two primary sources of conceptual confusion: the nature of immersion and the reliance on the traditional narrative arc. The thesis argues that the narrative arc is an ineffective framework for interactive media because player agency inherently disrupts the fine-tuned authorial control required for traditional storytelling. By moving away from the grand narrative arc, researchers and designers can better analyze the role of story through more relevant, granular components.

The proposed analytical framework focuses on five specific parameters: storyworld, character, emotion, narrative interface, and micro-narrative. These elements provide a more accurate lens for understanding how narrative functions within gameplay. The research incorporates qualitative findings from undergraduate and graduate students who performed close readings of various video games, illustrating how these parameters manifest in practice. For instance, the study highlights how narrative interfaces can reinforce character traits through cursor functionality and how micro-narratives—brief, self-contained moments of progression—effectively bridge the gap between game mechanics and storytelling.

The scope of this work encompasses the theoretical intersection of game design and narrative studies, drawing on historical perspectives from cinema and literature to contextualize the evolution of interactive media. The methodology relies on a synthesis of existing academic literature and qualitative student-led case studies of contemporary titles. Ultimately, the analysis concludes that games represent a unique form of narrative engagement defined by praxis—the story as enacted—rather than the traditional diegetic or mimetic modes found in passive media. This shift in focus allows for a more productive understanding of the dialectic between interactivity and narrative pleasure.