1.

1 Background to the study

Narrative expression takes various forms across diverse media, encompassing verbal, visual,
and written modes of communication. There has been a growing interest in narrative across
the field of humanities with the idea founded upon by the postmodernist theory of narratology.
The word Narrative originates from the Latin word narro meaning ‘to tell’ and interpreted in
English as ‘to tell a story.’ Anthropologists have suggested that telling stories is a universal
human ability, which is to say that every human has the ability to tell ‘a story’ or ‘their story.;
which when this is done is called ‘narrative.’

Barthes(1994) opines that narratives are multifaceted and numberless. According to him,
narrative is a diverse and ubiquitous phenomenon found in various forms of communication
across cultures and time periods. Barthes also suggest that narratives are not to be restricted to
specific genres or material, rather should encompass a wide range of expressions, images,
languages, gestures and more. Suggestively, the idea of narrative as a fundamental aspect of
human existence takes different form or media in order to be passed or enacted. As a semiotic
representation of events, narratives help individuals make sense of their existence and also
help connect to the world which makes it an indispensable part of human life.

It is crucial to establish a clear distinction between stories, plots, and narratives, especially
since these terms are often used interchangeably when referring to 'stories' in the context of
games. For the purposes of this study, we will adopt the definitions put forth by Abbott
(2002), Cohan and Shires (1988), and Heath (1996). These definitions closely align with those
presented by Cobley (2001, pp. 4-6, 16-17), Dansky (2007, pp. 1-5), Juul (1999, p. 29), as
well as the extensive discussions provided by Herman (2007, pp. 22-33) and Ryan (2006, pp.
6-7). In essence, a 'story' is defined as:

... a sequence of events involving entities. A story is bound by

the laws of time; it goes in one direction, starting at the
beginning, moving through the middle, and arriving at the end
... the only time involved is the time it takes to read [the
story], and the only order is that of the structure of the essay
(Abbott, 2002, p. 195).
Closely connected to this concept is the plot, which is separate from both the story and the
narrative. Aristotle provides a distinct definition for the plot as:

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 ... the organisation of events. The events, i.e., the plot, are
what tragedy [serious dramas] is there for, and that is the most
important thing of all (Heath, 1996, p. 11).
Cobley (2001, pp. 4-6) supports this view and broadens the definition to encompass a more
evident connection between events as “the chain of causation which dictates that these events
[in the story] are somehow linked and that they are therefore to be depicted in relation to each
other.”

While a narrative is defined as:

... the representation of an event or a series of events. ... when

we read a narrative, we are aware of, on the one hand, the
time of reading and the order in which things are read, and on
the other hand, the time the story events are supposed to take
and the order in which they are supposed to occur (Abbott,
2002, pp. 13-14).
Cohan & Shires (1988, p. 1) are of the opinion that “narrative recounts a story, a series of
events in a temporal sequence. Narratives give expression to feelings, but within the
framework of a story and its telling.”

Drawing from these definitions, it becomes evident that narrative possesses a greater degree of
adaptability compared to story or plot. Although the element of time and the sequence of
events are tightly bound by the structure of a story, and the causation and links between the
events are encapsulated in the plot, the narrative determines how these events are expressed,
the order in which they are presented, the duration of each event, and the frequency of each
event (Barry, 2011.) These defining characteristics of narrative are sometimes referred to as
narrative discourse and can vary based on the medium of storytelling, be it text, film, games,
and beyond. Therefore, the story encompasses information about an event or event sequence
(typically linear), the plot encompasses the causal relationships and links between events,
whereas the narrative is the unique manner in which the story is presented to the audience.

Video game is an interactive electronic game that involves player engagement through control
inputs to manipulate virtual objects or characters in a digital environment. It is a form of
entertainment that combines elements of gameplay, visuals, audio, and storytelling. While
video game narrative refers to the storytelling aspect of a video game, it encompasses the

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ways in which the game communicates its story, plot, characters, and themes to the player.
Juul (2003) defined video games as a rule-based system with a variable and quantifiable
outcome, where different outcomes are assigned different values with the player given the
liberty to influence the outcomes. Broadly speaking, digital games can be studied in three
ways: the social sciences perspective which focuses on the social context of games and their
players; the humanities perspective which takes games as cultural artifacts, and concentrates
on their meaning as well as ways of meaning-making; and the design perspective which
views games as a set of design and programming problems. According to Mäyrä (2008), what
distinguishes digital games from traditional ones like chess is their greater emphasis on
representational and narrative elements. The term “digital games” will be utilized as a
comprehensive reference as an umbrella term for both “computer games” and “video games.”
This label and choice, despite its inaccuracies seemed preferable to the latter two terms
because they imply particular kinds of technologies while “digital games” indicates that the
games in question are implemented in a (computer) technology that operates with discreet
values. The downside of this term is that many traditional board games like chess are digital in
nature because their game pieces have discreet values. Therefore, throughout the study,
“digital games,” “computer games,” and “video games” will be applied interchangeably but
always to denote games played by means of computer technology in some form or other. This
selection is made to ensure accuracy and clarity throughout the research.

The human lifestyle have been affected by technological advancements which today, plays a
very vital role (Ortega, 2012). Like all cultural phenomena, the internet and digitalization has
gradually influenced the idea of narrative especially with the idea of new-media in literature.
Bizzochi & Tanenbaum (2012) posits that narratives are currently undergoing transformative
expansion due to digital media contact.

Traditionally, the pleasurable aspect of literature has been closely linked to recreational
reading, involving the exploration of imaginative plots and storytelling. Nevertheless, in the
context of the digital humanities and the ongoing evolution of the technological era, new
forms of entertainment have emerged, including the medium of video games. Regrettably, the
potential for literary enrichment within the realm of gaming has frequently been
underestimated or disregarded as mere frivolous pastime by those who overlook their artistic

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and narrative merits. These interactive experiences integrate literary components such as
narratives, multifaceted character progression, thematic exploration, and immersive world-
building. As a result, they afford players interactive and absorbing encounters that have the
potential to evoke profound emotional reactions.

Video games have taken the helm in our society and have become a very influential kind of
technology (Ortega, 2012). A lot of studies have indicated that visual image is a very effective
mechanism to convey information and emotions, the design of visual element can also guide
players or stimulate their curiosity, concentration, empathy, etc (Qin, Rau & Salvendy, 2009).
The immersive nature of video games has made it possible to have similar participation as we
would in politics, religion, culture and education. (Miler, 2008). What Miler suggests is that,
through technology, our cultures can now be re-lived in a virtual space. It is the general belief
that video games are the major source of entertainment for kids, however, with advancements
in technology and digitalization in its general sense, gaming has evolved from being just an
entertainment tool into a tool for digital and technological literacy.

Despite the artistic and narrative in video games, there has been limited scholarly attention to
the literary aspects within them. The perception of games as solely entertainment has led to a
lack of recognition and exploration of the literary treasure trove they hold, specifically, the
aesthetic in their narrative. Consequently, there is a need to bridge the gap between literature
and gaming, in order to recognise the convergence of these two mediums and to explore the
narrative aesthetics within video games. The digital age has transformed the way individuals
consume media and engage with narratives. The rise of gaming as a prominent form of
entertainment has captured the attention of millions worldwide. According to ([Link] &
Statista), there are 3.24 billion gamers in the world. However, the perception of games as
frivolous or lacking artistic merit has overshadowed their potential as a storytelling medium.
This has resulted in a dearth of scholarly attention on the narrative elements present in video
games. This study explores the potential for video-gaming as the same or near the
conventional traditional literary text. This research therefore explores the narrative aesthetic
in video games.

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1.2 Statement of the problem

Previous research has explored various dimensions of video games, however there has been a
gap into narrative aesthetics within the context of video games. This study aims to address this
gap by focusing on the narrative aesthetics of the game "Far Cry 3," using a structuralist
approach to analyse and understand its storytelling dynamics. Past research in the field of
video game narratology has predominantly concentrated on theoretical examinations of how
video games intersect with narrative constructs. Scholarly works, such as those by Ryan
(2001) and Juul (2005), have focused on the conceptual framework of video game narratives,
exploring their potential as a distinctive form of interactive literature. Additionally, the
pedagogical dimension of utilizing video games as educational tools has been explored by
Gee (2003) and Squire (2003), highlighting their efficacy in fostering engagement and
learning especially in children. Other studies have ventured into the technical aspects of video
game design, focusing into their mechanics, graphics, and player interaction. However,
despite these efforts, there remains a gap in the area of research that systematically examines
the narrative aesthetics of video games using a structuralist lens.

The present study seeks to bridge this research gap by adopting a structuralist approach to
investigate the narrative aesthetics inherent in video games and text narrative comparing the
narrative structure of the video game "Far Cry 3" to the novel Lord of the Flies. With
particular focus on the underlying narrative architecture, character development, plot
progression, and thematic elements, this research endeavors to offer a nuanced analysis of
how the game's narrative aesthetics are interwoven with its gameplay mechanics. Through this
study, a deeper exploration of narrative aesthetics utilizing a structuralist framework will be
carried out.

1.3 Aim and objectives of the Study

The aim of the study is to show that video games are a narrative genre, even if their
storytelling structure differs from conventional narrative that can be found in films and literary
works of art such as text. The specific objective of this study will be to

I. Establish video games as a form of narrative

II. Explore and analyse how narratives are conveyed in digital games.

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 III. Compare and contrast narrative aesthetics in video games and literature text using
the video game Far cry III and the novel Lord of the Flies as data.

1.4 Scope of the study

This study focuses on the narrative aesthetics within the context of video games. The study
specifically focused on the video game "Far Cry III" making narrative comparison and
contrast to the text Lord of the Flies by William Golding. Although the main focus is on Far
Cry III and Lord of the Flies, however, other text will be cited throughout the course of the
research.
1.5 Theoretical framework: the structuralist narratology
The approach is rooted in Saussure's Structuralist theory, and by application, the interplay of
elements, codes, and cultural context will be observed to aid our understanding of how the
game's narrative structure and character interactions contribute to its overall meaning and
story development. This theory analyses the game's structure and character interactions.
Similar to Propp (1928) analysis of narrative functions in folk tales, this structuralist lens will
uncover how games narrative elements form a cohesive structure.
1.6 Significance of the study
As the gaming industry continues to evolve, this study holds significant importance due to the
growing popularity of video games as a form of entertainment and its recognition as a
storytelling medium. By closely examining the narrative elements and structures within video
games, this research seeks to provide valuable insights into the evolving relationship between
literature and gaming. The study also contributes to filling the gap in scholarly investigations
pertaining to narrative aesthetics in video games and written text narratives.
2.0 Literature review

According to Mäyrä (2008), what distinguishes digital games from traditional ones like chess
is their greater emphasis on representational and narrative elements. Wittgenstein (2009)
emphasizes that there is no single characteristic that defines all instances of what we call
"games." Instead, he suggests that games can share certain family resemblances, wherein
different games exhibit overlapping similarities, but there is no one common feature that they
all share. According to Oliver(2021), digital games are subject to examination through three
distinct lenses. The social sciences approach which centers on the social environment
surrounding games and their participants. On the other hand, the humanities angle which
treats games as cultural objects, emphasizing their significance and the processes of
attributing meaning. Lastly, the design viewpoint regards games as a compilation of

6
challenges related to both design and programming. Within the humanities, several inquiries
arise. There has been the question on the extent to which literary theory and narratology are
integrated into the methodologies employed by researchers studying games. Another query
pertains to how computer games should be defined and approached as subjects of analysis. In
the early days of game studies, these questions took center stage in the discourse termed the
“ludology versus narratology debate”. These debates revolved around the tension between two
approaches developed to understanding games. The approaches are ludological approach,
which focused on the mechanics, rules, and structures of games, and the narratological
approach, which emphasized the narrative and storytelling aspects of games. It was hotly
debated whether games should be primarily examined as interactive systems or as narrative
mediums. In light of advancements in technology and the evolving landscape of literature and
new media, the evolution of technology has expanded the forms of literature which goes
beyond traditional textual medium. It is therefore important to reexamine the interplay
between ludology and narratology in order to understand how games function as both cultural
creations and interactive experiences. Lev Manovich’s in his study on video games observed
video games as part of new media:

New media is interactive. In contrast to traditional

media where the order of presentation was fixed, the
user can now interact with a media object. In the
process of interaction the user can choose which
elements to display or which paths to follow, thus
generating a unique work. Thus the user becomes the
co-author of the work. (66)
According to Manovich, the interactivity of video game narratives, as a new media form of
narrative fundamentally diverges from the traditional narratives. His idea of interactivity
hinges on the capacity to manipulate the content. Also, by assuming the role of a "co-author"
in this new media creation, players who in the traditional literature are the readers, now
exercise choices that carry the responsibility of molding the narrative. In alignment with
Manovich’s perspective, other scholars have also recognised that the unique nature of
interactivity in video game narratives introduces a departure from conventional storytelling.
This departure is rooted in players' active involvement, which extends beyond passive
consumption. This shift from traditional storytelling is based on players taking an active role

7
which goes beyond merely consuming content in a passive manner. Players become actively
engaged participants who influence and shape the narrative through their choices and
interactions, rather than just receiving the story as dictated by the author in fixed form. The
opinion of scholars is that the players navigate the digital landscapes and contribute to the
unfolding storyline, resulting in an emergent narrative shaped by their decisions. This
viewpoint underlines the transformative nature of interactivity, which shifts from the
traditional linear storytelling methods. On this, Espen Aarseth, introduced the concept of
"ergodic" literature in his work "Cybertext: Perspectives on Ergodic Literature" (1997). Espen
emphasizes how readers, or players in the case of games, actively engage with the medium to
produce meaning. This notion aligns with the interactive nature of video game narratives,
where players shape the story through their choices. Also in agreement, Janet Murray (1997),
argues that interactivity offers audience with new ways to engage with stories and generate
diverse outcomes through the transformative effect of interactivity in video game narratives.

Marie-Laure(2001) in their work explored the qualities of interactive narratives across media.
She is also in agreement that players actively contribute to the narrative's evolution in a game.
Similarly, Jesper Juul's (2005) discussed the "half-real" nature of games, where gameplay
mechanics influence storytelling. Juul's viewpoint corroborates the idea that interactivity
creates a distinct narrative dynamic in video games. These scholars are all in agreement that
the concept of interactivity alters traditional storytelling dynamics in video games. They also
agreed that interactivity allows players to become active participants and co-authors of the
narrative of the game. This deviation from the traditional narrative form molds an evolving
narratives which is created through the decisions and interactions of the players.

Asides the earlier arguments on definition of game narrative, the term “narrative” is generally
understood in one of three ways as proposed by Väljataga (2008). By his analogy, the term
narrative can either be a particular type of text or discourse, or could mean a speech act or
form of communication which could tell a story about happenings in the society or the
happenings to an individual. Väljataga third definition of narrative suggest that narrative
could be a cognitive schema or script applied to texts and other kinds of material, and by such
could denote a kind of text, or a manner of communicating or a way of receiving a text which
include the visual forms in which games come in.

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2.1 Digital game

The concept “game” is expressed in the examples and explanations that one can give which is
as a result of the difficulty in definition of the term. This difficulty in definition of game is
suggestive of what is popularly known as “family-resemblance argument” which was
popularized by Wittgenstein in 2009. In his argument, he emphasizes that there is no single
characteristic that defines all instances of what is called "games." Instead, he suggests that
games can share certain family resemblances, wherein different games exhibit overlapping
similarities, but there is no one common feature that they all share. In a similar manner, words
and concepts don't have a fixed essence, but they are connected through a network of
similarities and uses. His argument points to the importance of context and usage in
determining the meaning of words and concepts which also challenges traditional notions of
fixed definitions which instead emphasizes the dynamic nature of language. While critics may
raise concerns about potential miscommunication, proponents of Wittgenstein's view applaud
its capacity to capture the complexity and adaptability of language in various social practices.
Wittgenstein argument on the definition of games is valid since games cannot be defined
because there are no necessary or sufficient features that all games share.

Digital games convey narrative in different ways, such as cut-scenes, written texts, characters,
and the game world itself. They utilize different methods to communicate narratives,
including cinematic segments, textual content, in-game characters, and the virtual
environment. These elements collaboratively construct storytelling process. Cut-scenes, akin
to cinematic sequences, unveil pivotal plot elements and character interactions. Written texts
encompassing dialogues, journals, and essays enhance narrative by conveying contextual
information and character development. Characters themselves serve as conduits for
engagement, as players forge emotional connections and navigate the changing storylines. A
narrative transmission occurs in the process of game narrative which employ environmental
storytelling to subtly embed plot cues. Through what is knonw as “Player agency” proposed
by Aarseth (1997), a distinctive facet, which allows decisions to reshape narratives encourages
a personalized involvement. The integration of environmental storytelling within video game
design is consistent with the principles outlined by Ryan and Thon (2014), who in their work
emphasized the significance of spatial and visual elements in shaping narrative experiences.

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Also, the concept of player agency aligns with the theoretical framework that was proposed by
Aarseth (1997), on the interactive nature of narratives in digital environments. Sound and
music also heighten immersion by evoking emotions and underlining significant events. The
role of sound and music in evoking emotional responses and reinforcing narrative events
resonates with the ideas put forth by Collins (2008) on the immersive potential of audio in
gaming contexts.

2.2 Narratives and games

Analysis of narrative in video games is the scope of this paper, however, the subject of
narrative vis-a-vis digital games will be briefly explored here. The traditional narratives
follow a timeline consisting of beginning, middle, and end (Sparkes, 2005) which builds on
the idea of “plot” as discussed by Aristotle in his Poetics. His idea is that plot is a crucial
element in stories, and must have a beginning, a middle and an end, which causally relate to
each other (Aristotle et al. 1995) This seems to make sense in relation to the understanding of
linear storytelling that follow a conventional three act structure used in games. However, it
makes little or no sense vis-a-vis texts in which characters and events have no causal link.
Indeed, in such cases, a debate may ensue whether such texts could be considered narratives
in the first place. This discussion however lies beyond the scope of this paper.

In contrast to the narratives prevalent in new media and across various academic disciplines
today, the term “traditional narrative” refers to events expressed in classical media channels
like literature and films. In Bizzocchi's discourse, the term "traditional narrative" operates as a
shorthand which could denote the more specific concept of a "narrative arc." Which according
to him conventionally encompasses fundamental constituents such as the setup, complication,
development, resolution, and denouement (Bizzocchi, 2007). The narrative arc functions not
solely as a rudimentary framework for interlinking events or story progressions, but also
serves as an effective tool for guiding the audience and readers to experience them. Each stage
within this arc distinctly serves its purpose, and can be connected in series to form a complete
narrative line. Compared to the traditional narrative forms (like literature and films,) the
domain of game narrative is still at infancy and in development. Nonetheless, through the
vigorous development of digital media and the game industry, game narrative has gained a lot

10
of attention and progress over the past decade (Bizzocchi & Tanenbaum, 2012). With the
increase in the types of digital games, the mode of incorporating stories into games has
become very common thus, the integration of narratives into games has become a norm.
Significantly, game narrative goes beyond mere incorporation of background stories in digital
games; it can also be reflected in the gameplay mechanics, artistic elements, and other novel
facets which is very different from traditional narrative.

Game narrative according to Qin, Rau & Salvendy, (2009) is considered the basis or
framework of computer games because it integrates games into logical series. This points to
the idea that the focus of game narrative and traditional narrative is different. While traditional
narratives emphasize the narrative content, game narrative is more concerned with the way
and effect of conveying events and information to players. Simultaneously, players have
transitioned beyond passive recipients to active participants and creators of the game narrative
which is to say that the players are no longer just the receiver, they are both the experiencer
and the creator of the game narrative who by their actions or in some cases inactions and
choices actively influence and shape the narrative, thereby contributing to the game
progression.

It can be further argued that the way a story is told in video game medium is different from the
way it is told in other media like film, literature or television. Arguably, one of the key
differences is the active participation otherwise known as immersion which has been
discussed earlier is required from players when gaming and is the same driver of the intended
sequence of events.

Espen Aarseth (1997) in his book Cybertext, also focuses on how users interact with
interactive discourse. He makes use of the term ergodic when referring to such discourse,
which includes, among other things, hyper text, interactive media, and computer games. The
term ergodic refers to a ‘type of discourse whose signs emerge as a path produced by a non
trivial element of work’ (Aarseth 1999 p. 32). In this sense, computer games are ergodic as
the events triggered in the game emerge only through players’ input.

If we were to provide a simple example, the difference between the book and game versions
of Assassin’s Creed: Brotherhood (2010) is that in the latter, the player not only observes, but

11
controls the actions of the main character Ezio D'Auditore. The player is thus not only a
reader of the sequence of events, but is also constructing the intended game story as s/he plays
along. Indeed, Marie-Laure Ryan stipulates that ‘whereas the reader of a standard print text
constructs personalized interpretations out of an invariant semiotic base, the reader of an
interactive text thus participates in the construction of the text as a visible display of signs’
(Ryan 2001).

In the quotes by Aarseth and Ryan, two particular words stand out: emerge and construction.
These two words seem to give a strong sense of authorship to the players. However, while it is
tempting to say that players are freely constructing their own sequence of events and stories,
most events players play through in video games are pre-coded and scripted. Yet, there are
games of emergence like those from The Sims series or more recently Minecraft, in which
there are no fixed sequence of events players must play their way through. However, it can
still be argued that players create, (or rather construct) their own sequence of events.

2.3 Emergence and progression game narratives

Jesper Juul (2002) observed an important difference between two game structures, which he
refers to as games of progression, and games of emergence. He highlights that in progression
games, in order to achieve game completion, the player must execute a set of actions that have
been pre-established and generally trigger the designer’s intended story through a playable
sequence of events. He describes these games as games ‘on a rail’, as gameplay takes the
player through the designed events of the game. Games of progression are commonly
associated with single player adventure games, although the term can be used to refer to all
linear games where players play towards completing a story. Juul also shows how these games
have strong links to narrative and particularly linear storytelling.

Juul refers on the other hand to games of emergence as more interesting, ‘primordial’ game
structures which include a large number of gameplay variations. These games can be played
very differently, and the outcomes of play might not lead to one particular game state.
Furthermore, they are less likely to have a pre-scripted narrative. This is not to say that games
of emergence do not have rules. Instead, he notes that games of emergence have simple rules
that through their combinations form interesting variations. Similarly, in their discussion on

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emergent games, Chauvin et al. (2015) extend their definition of emergence when they state
how emergent games are ‘created with a specific kind of approach to game design that
emphasizes the creation of rule based systems, rather than pre-scripted paths’ (n.p.). The
phrase ‘pre-scripted paths’ seems to refer to a lack of sequence of events in games of
emergence.

3.0 Theoretical framework

3.1 The structuralist narratology

According to Sassure (1857-1913), the meaning of any literary text resides among the various
elements in a particular system. Like language, literature has certain codes through which the
meaning with the external unity gets its fulfilment. The structuralists in literature believe that
it is the overall unity and significance which is the basic form of any communication and
social behavior. Their perspective centers on the fundamental idea that effective
communication and social interactions are rooted in achieving a holistic sense of unity and
significance. This involves considering the interplay between cultural context and actions,
which collectively shape the meanings in communication. Moreover, the act of reading is a
self-enclosed practice in a culture, which contains its own codes and meaning exists in these
codes (Bressler, C. E. 2007). Computer or video game like Far Cry 3 is nothing but the
combination of codes with some binary opposition through which the meaning is
conveyed. Therefore, by using this approach, we understand that the proper study of literature,
according to the structuralists is not to investigate the individual text, but to analyse the
conditions surrounding the act of interpretations of the particular text. The meaning which
resides in Far Cry 3 is conditioned by the act of interpretations, not as a lonely game but
among the situations and unity of structure. The term “structuralist narratology” originated
from Strauss’s (1958) model of myths by scholars within the structuralist framework. This
approach underscored the extraction of meaning from narrative structure, its underlying
langue, while diverting attention away from the distant thematic aspects of individual stories.

The structure of any video game is similar to any literary text (written forms). It is the
character which by its movements makes the story and the story which helps to framing the
character. The characters and the incidents are unified with some codes which determine the

13
process of storytelling. The only difference between literary text and video game is that one’s
structure is determined by the language and the latter is presented by its visual effect. But both
of them have the structure in their own indifferent ways, but in the same level. Let’s analyse
how these structures of language and the langue has come under the influence of digital
framing in the twenty first century. Video games are nothing but an advance digitalization of a
particular structure. Russian Formalist Vladimir Propp((1928) scrutinizes thirty one elements
which construct the base of any folk or fairy tale, which are fixed. He calls these elements as
the ‘narrative function’, which occurs in a certain sequence determining the function and the
pattern of the characters. These narrative functions is applied to the review of narratives in the
game Far Cry 3.

4.0 Methodology

The study adopted a combination of qualitative and comparative analysis approaches to

examine the convergence of literature and gaming with a focus on narrative aesthetics in video
games. The study carefully selected a text and a game for the study in order to represent
diverse narrative styles. Data is collected by close reading and analysis of the selected
traditional texts, examination of the narrative elements such as plot, character development,
dialogue, and thematic exploration present. For the video game, gameplay sessions was
conducted, and in-game narratives is observed and analyzed. Additional data collection
methods include interviews with game developers and players to gather insights into the
narrative design process and player experiences. The study then carried out a comparative
analysis in order to identify similarities and differences in narrative aesthetics between the
traditional text and the selected video game. The analysis explored narrative techniques,
character development, pacing, world-building, and thematic exploration to understand how
literature and gaming converge or diverge in terms of narrative aesthetics. The data is then
interpreted and discussed accordingly.

4.1 Game review: Far Cry 3

Far Cry 3 is the third version of the game series called Far Cry which currently has six series.
This series originates from Crytek, a German video game developer and was released in 2004.
As the franchise progressed, Ubisoft took over development, which made it series. "Far Cry

14
3," is developed by Ubisoft Montreal. Far Cry 3 is an original creation unlike other video
games that find their roots in literary works or cinematic adaptations. Currently, there are six
series of Far cry and each installment of the Far Cry series presents its own different setting
and characters. Also there are thematic and gameplay continuities that bind the series together.
However, the individual storylines within each Far Cry game are generally independent of
one another. Each series of Far cry has a unique narrative arc separate from the previous
series, and players do not need to have played the previous series before they can play the new
one.

Far Cry 3 is a game about exploration, exploitation and experimentation. It is an advanced

action-adventure first person game, which is set on the Rook Island between the Indian and
Pacific Ocean. This game has earned the fame for its storyline and its presentation throughout
the world. It was honored with the several awards, including British Academy Video games
Award and National Academy of Video game Trade Reviewers Award in 2013. According to
Jeffrey Yohalem, the writer of the game the plot is about “what shooting means and what it
does to humanity” (Far Cry 3, 2014). The protagonist of the game is Jason Brody, who, along
with his elder and younger brothers Grant and Riley and some of his friends, come to
Bangkok on vacation to celebrate Riley’s getting license. They come down to the Rook Island,
during their skydiving. Rook Island is captured and controlled by the pirates under the control
of Vass, one of the most notorious antagonists in the game world. Vass imprisons all of them
and tortures them brutally. Jason and Grant are kept in the same cell when the others are taken
for the ransom. Grant, the elder brother of Jason, makes a plan to escape and finally they
manage to free themselves, but unfortunately Grant is killed by Vass and somehow Jason
successfully escapes from that place and takes shelter in the jungle. Shortly thereafter, Jason
meets a member of the Rakyat tribe named Dennis, who wanted to help him as he finds Jason
has the ability to obey the “path of the warrior”. Rakyat tribe also wanted to take over Vass as
they are also exploited and tortured by that psychopathetic villain. Citra, the leader of the
Rakyat tribe and the sister of Vass, agree to help Jason in rescuing his friends, but with a
condition, i.e., if he can manage Silver Dragon, a knife which the Rakyat tribe revered. Buck
Huges buys Keith, one of the friends of Jason as a human slave but he promises to give him
back to Jason if he is able to manage the Silver Dragon. The Silver Dragon is managed but

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Buck refuses to give Keith back, so the fight takes place and Jason kills Buck. Jason manages
to rescue Lize, Keith and Oliver to Dr. Earnhardt, who helps them a lot in that island. They
have been given a boat to escape from that island, but Jason refused to leave as he wants to
free his younger brother Riley from Vass. Keith tries to convince him that Riley has been shot
dead by Vass and he witnessed it. Still Jason wants to take revenge and wants to kill Vass.
Jason hands over the Silver Dragon to Citra. Citra helps Jason to kill Vass after getting that
Silver Dragon. Sam Becker, a CIA agent who is working undercover in Hoyt’s island, helps
Jason to find Riley. There Jason, with the help of Sam, wins the trust of Hoyt and later through
a poker game Jason kills Hoyt and successfully rescues Riley with the loss of Sam, who is
killed during the game by Hoyt. Jason and Riley escape from the island to Dr. Eanhardt after
seizing a helicopter from Hoyt. On the other hand, Citra kidnaps all the friends of Jason and
kills Dr. Earnhardt. Citra gives two choices to Jason, one is to complete his path of the warrior
by killing all his friends and allowing her to be his partner, or to abandon it and return to the
life he is craving for. The choice of the player affects the mode and tone of the game. If the
player chose to play as a warrior and kills the friends to be the king of the Rakyat tribe, then
Jason after having sex with Citra, is killed by her with an assurance that the child which she
will carry will be the new king of the tribe in the future. And if the player goes for the second
option that is to deny to kill the friends and to take over the throne, then Dennis with the fury
tries to kill Jason but by mistake he kills Citra. While Dennis regrets at his deed, Jason and his
friends escape from that place and at last they manage to escape from the Island.

5.0 Analysis

5.1 Narrative aesthetics in the video game Far Cry 3 and the novel Lord of the Flies by
William Golding

The game begins with an introduction at the start of the game, in which the protagonist Jason
departs on a vacation with a few of his friends after learning that Riley has obtained a pilot's
licence. This introduction serves as an exposition that establishes the initial situation,
characters, and context for the player. In the context of the game, this opening serves as an
exposition by introducing the protagonist, Jason, and his friends, while also setting up the
central premise of their vacation. This introduction in the game gives players a sense of who

16
the main characters are, their relationships, and the setting in which the story will unfold. It
provides the players with enough information to start forming an emotional connection to the
characters and the world within the game. This use of exposition is not limited to games. This
narrative technique can is also found in traditional literature. For instance, the opening of the
novel Lord of the Flies by William Golding. In the opening chapters of the book, the reader is
introduced to a group of British boys stranded on a deserted island after their plane crashes.
The novel's exposition establishes the initial situation, the characters (the boys), and the
context (their isolation on the island). This information is helps the reader to understand the
subsequent events and character developments in the story.

The character we have been exposed to set off on an excursion, which end in savagery. Going
by Vladimir Propp analogy, there is a certain absence in their lives, and this lack serves as the
initial narrative function. What exactly is this lack? A close examination of the game reveals
that the cause for the journey and their imprisonment was the shortage of supplies. All of
Jason's friends descend to Rook Island, which Vass runs and controls, following their skydive.
Jason and his older brother Grant are taken prisoner by Vass, and the rest of them are taken for
ransom. Later, Grant and Jason succeed in leaving that location, and they devise a strategy to
save the pals. Vass kills Grant during this procedure, but Jason manages to make it into the
jungle. He discovers after scurrying about the bush that he shouldn't flee like a coward and
makes the decision to battle back to the crew and save the others, especially his little brother
Riley. Jason is compelled by the lack to embark on the quest, which is the second manner of
the narrative function, in order to fill the gap. Jason begins his one-by-one killing spree.

It is observed that both traditional literatures and video-games utilize conflict and tension to
drive the narrative forward. The narrative structure of Hero's Journey, is found within the
game which is also common in other forms of storytelling. This structure follows a series of
stages that the protagonist goes through on the path of transformation.

Through the game, the player's choices lead to different narrative paths and multiple endings,
emphasizing the importance of their agency unlike inn a traditional literary work where the
reader is an observer rather than an active participant. The characters' choices and actions are
determined solely by the author's narrative, with the option of only reflecting on the

17
characters' decisions and their consequences. Similarly, in "Lord of the Flies," the group of
boys stranded on the island also experience transformation as they adapt to their new
environment. Their initial attempt to establish order and governance gradually devolves into
chaos and savagery, showcasing their changing behavior and personalities. In both traditional
literature and games, these adventure propel the actions of the characters which in turn build
the development of the plot. This narrative structure relates to traditional literature as they
both follow similar patterns of character development, transformation, and conflict.

There in the jungle, the protagonist meets up with a person called Dennis Rogers and the other
helpers, who on this structure acts as a helper. According to Propp the third method of the
narrative structure is that of the encounter of the helper, who helps the protagonist during his
quest. (Propp's Morphology, n.d.). In Far Cry 3, the story is so well narrated that it peered
with every form of the narrative function. There are three helpers in this structure. They are
Dennis Roger, Dr. Earnhardt and Willis. Dennis Roger, one of the inhabitant of the island
agrees to help Jason. Roger is basically from the Rakyat tribe, whose queen or the leader is
Citra, the sister of Vass. As Vass has captured the whole island and exploited the people who
lived out there Citra wants her power back from his brother at any expense. In the course of
the quest Jason happens to meet Roger and he tries to help him only because he saw that Jason
has the ability to follow the ‘path of a warrior’ according to the norms of the Rakyat tribe.
With the assistance of Dennis Roger, Jason finds Daisy and some other friends. They are taken
to Dr. Earnhardt who also act as a helper here. Dr. Earnhardt even died for helping them.
Another helper Willis, a CIA agent is having the knowledge of both about the whole island
and of the Silver Dragon. So, he helps Jason to find out the rest of his friends like Keith, Liza
and Oliver and gives him the idea about the place where the Silver Dragon can be found. So
these three helpers are supposed to be there for the development of the plot of the game.

The plot develops by taking the help from the various helpers. Accordingly, the fourth method
is that these helpers are supposed to take one or more tests during the quest of the
protagonists. As the player plays Far Cry 3, there is a stage when he is given some situations
where he will only be given the options and the options will determine his further future. For
example, after killing Vass, Jason is forced to make love with Citra. Citra offers two choices to
Jason, one is to complete his path of the warrior by killing all of his friends and allowing Citra

18
to be his partner, or to abandon it by killing Citra and return to the life he is craving for. The
choice of the player affects the mode and tone of the game. If the player chose to play as a
warrior and kills the friends to be the king of the Rakyat tribe, then Jason after having sex
with Citra, is killed by her with a statement that as he is a foreigner, he is not supposed to be
the king but the child which she will carry will be the new king of the tribe in the future. And
if the player goes for the second alternative that is, to deny to kill the friends and not to take
over the throne, then Dennis with the fury tries to kill Jason but by mistake he kills Citra. So
the possibility which has been designated to Jason or the player is nothing but the test
conducted by the helpers. The last method of narrative function is that after passing the test
the hero will be rewarded. If the player chooses the first option, then he will certainly be failed
in the test and will encounter with death. Because if Jason is presented like a warrior then
Citra will kill him, so the poetic justice is not done. Here in this context Henry James’s
statement is quite relevant. He says that character is the determination of incident and incident
is nothing but the illustration of character. The last method of Propp’s narrative function is
well understood through this statement. Far Cry 3 is not presented from the narrow point of
view, but will develop its story only after interacting with the other characters.

The use of multiple endings in Far Cry 3 align with Propp's concept of poetic justice,
wherein the characters' actions have fitting consequences which also dependent on the choices
players make. By the players choices, the moral and ethical decisions Jason makes throughout
the game are reflected at the end. This however is in contrast with “Lord of the Flies," where
the ending can be seen as an exploration of the loss of innocence and the dark side of human
nature. In the novel, the boys' ultimate fate is a result of their choices and actions, which
shows a sense of tragic inevitability.

5.2 Conclusion

This examination of narrative aesthetics in video games, as demonstrated through the

comparative analysis of Far Cry 3 and Lord of the Flies, has revealed the parallels and key
distinctions that shed light on the storytelling across different mediums. The two secondary
materials show similarities in their narrative aesthetics. The exposition, character
development, Hero's Journey structure, and the presence of antagonists and protagonists are

19
shared elements that builds the narrative. The use of actions to propel the plot and the
inclusion of helper characters to aid the protagonists also align. Moreover, both the game and
the novel shows how the choices and actions of characters—whether player-driven in the
former or predetermined in the latter—act through the narrative, leading to a sequence of
events that further builds the story.

Importantly, the two narratives show the presence of violence within societies, serving as a
universal theme that exist between mediums. The key distinction between the two mediums
however lies in the level of agency granted to the audience. In the game medium, players
wield the power to shape the direction of the story through interactivity and personalized
engagement. In contrast, Lord of the Flies adheres to a preprogrammed course written by the
author, where readers observe as the story's events unfold without direct influence. This
research shows the versatility of storytelling which adapts to changing technologies and
mediums.

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