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Characteristics for game narrative space | Function in game narrative | Function in gameplay | Examples cited (selective) |
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Topographical layout | Affect plot structure | Help create navigational pattern | Assassin’s Creed BioShock |
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Topographical spatial opposition | Help group narrative events; Help create conventions (e.g., dangerous space versus safe space) to affect emotional experience | Help shape navigational experience; Help create conventions to affect decision making | Assassin’s Creed; Assassin’s Creed II |
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Operational character mobility object mobility | Help create the storyworld; Help the plot development; Affect the variability of narrative | Ease or intensify gameplay; affect the variability of gameplay | Prince of Persia: Sands of Time; Assassin’s Creed; Fable II; Heavy Rain |
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Operational paths and axes | Help shape/restrain the plot structure | Help create navigational pattern; Affect the degree of repetition of gameplay | Assassin’s Creed; Planescape Torment |
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Presentational on-screen space perspective
| Stylistic/genre storytelling; Choice of first-person versus third-person help shape emotional experience | Affect the continuity of game space; Affect player control of view; Camera as a guiding device | God of War; Assassin’s Creed; Assassin’s Creed II; Prince of Persia: Sands of Time; Max Payne |
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Presentational acoustic space | Set the mood, create tension, and enhance the realism. | Provides feedback and hints for players’ next moves; Basic game mechanic (e.g., in rhythm games) | Fable II; Assassin’s Creed; Rock Band; Dance Dance Revolution |
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Presentational spatial segmentation | Help group narrative events | Set the boundaries of gameplay; help create game levels | Prince of Persia: Sands of Time; Fable II; Assassin’s Creed |
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Presentational screen interface | Provide information; stylistic/genre storytelling (e.g., split screen) | Facilitate player control for both gameplay and camera view; provide information and instructions | Assassin’s Creed; Fable II; High Velocity; Heavy Rain |
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