微信客服：xiaoxionga100
微信客服：ITCS521
论文代写-B129619
时间：2021-10-28
B129619
Exposition through Play: The Story of the Silent Protagonist.
Florence (2018) and INSIDE (2016) are two games produced by indie developers, with short
average playtimes, and largely silent protagonists. Both narratives are driven visually, by the
players guidance of the protagonist through the provided game’s world. INSIDE, is a
seamless 2.5D Platformer, whereas Florence, is a chaptered interactive story. The primary
source of interaction the player has with these games is through puzzle solving, though in
both cases the puzzles themselves are often used in place of dialogue, detailing theme, and
exposition, alongside being resolved in order to continue the narrative. These games
emphasise the player’s experience of narrative through exposition, environment, and intrigue
rather than aspects of ‘play’. If play can be defined as “free movement within a more rigid
structure” (Salen, K. 2003: 304) I would argue both Florence and INSIDE prioritise their
structure, in the form of their narrative, over playfulness.
To deconstruct the narrative of these games and discuss how they are conveyed through their
respective protagonists, I will be analysing them in terms of plot and mechanics focusing on
how these aspects engage with the player. What approaches they share, alongside what each
game does uniquely. It is important here to address the subjectivity of the player’s
perspective, especially in relation to these games. “Every fictional character exists in a
contested zone between author intention and audience interpretation; but in games, the
position is much closer to the latter party.” (Stuart, K. 2014) While the games themselves
take on distinctly different formats of ‘play’. In INSIDE the player’s avatar is always visible
and controlled across the game’s scrolling plain, whereas Florence’s format is more
ambiguous, often controlling specific actions rather than the whole character’s movements.
However, it is important to note they are both puzzle-solving games. In this same way, both
are reminiscent of their distinctive genres visually, INSIDE is a survival horror and Florence
a romance story, within these genres, both are stories about autonomy. They both debate how
important the players autonomy in the narrative is, and what it means to control the self,
whether that self is a combination of people into a giant Huddle, or a more romantic couple.
INSIDE follows the player control a Boy who is forced to continually run across a post-
apocalyptic environment, chased by a Threat in the form of anonymous guards and animals.
The player solves puzzles to continue The Boy’s journey, in the late game, many of these
involve The Boy using a mind-control machine to control empty grey bodies. The game ends
B129619
with The Boy merging with The Huddle, a creature composed of these disused bodies. As
The Huddle, the player escapes, ending on a beach outside, the sun shines on the player.
INSIDE’s narrative is dystopian and dreary, having a plot that is incredibly simplistic but also
harmonic. In a structural sense the game is classical, almost literal in many ways. The game
taking advantage of narrative structure in the form of mirroring images. “[Acts] form at least
approximate mirror images of each other; each side of the midpoint reflects opposite mental
states; each point of the outward journey is mirrored in its return.” (Yorke, J., 2014: 62)
The game opens with The Boy outside, follows The Boy travel inside, before returning
outside, having literally changed. The ending mirroring the opening. Often narrative change
is interior but, since The Boy’s interior is never explored, exterior is the clearest way of
communicating this idea. The Boy becoming The Huddle is a physical representation of the
natural narrative progression.
Stories can be simplified to the idea of “a thesis. Its contradiction will be antithesis. From the
two will be formed a synthesis.” (Egri, L. 1942: xx) If we take the games thesis as the idea of
Autonomy, using narrative to question the player as to who they control. The game begins on
the Boy, left of frame, and we as the player are asked to move the Boy, Right. (See, Fig 1.)
Two things are assumed in this moment, the Boy is male and the direction we move in, must
be Right. The game is heteronormative in both its lead character and platforming game
design. The thesis of a standard heteronormative platformer is that: We are the player
(assumed to be male) and we move the character in the right direction (assumed to be right)
“The message is clear. Boys are the norm, girls the variation.” (Pollitt, K, 1991)
B129619
(Fig. 1. The opening setting.)
The game’s anti-thesis is introduced in the form of empty grey bodies. (See, Fig 2.) The
gender of these bodies is ambiguous, likewise, is the autonomy of them. We, the player,
control them. But we understand that the Boy, in the game’s narrative, is the one in control.
The puzzles these grey bodies introduce often challenge the player to move Left, solve a
puzzle the player already progressed passed, to allow progression to the Right. The previous
status quo of constant progression to the right is blurred. With ethical dilemma’s in games,
the player is often “one step removed and thus [the dilemma is] potentially less powerful or
effective for eliciting ethical reflection.” (Zagal, J, 2009: 3) Because of the game’s restrictive
narrative, the player is removed, as they have no option aside from controlling the grey
bodies, the Other. They must do so to progress. However, controlling these bodies is an
ethical dilemma for the character, in so far as it leads the player to question the idea of
Autonomy. These bodies are used by The Boy to progress further in the Boy’s journey. Is it
acceptable for the Boy to use these husks to his own ends? Is it acceptable for us to use the
Boy in the same way?
B129619
(Fig. 2. The Boy controlling the ambiguous grey bodies.)
The synthesis is literal, the combination of the Boy and the Bodies, in the form of the Huddle.
The result is chaos, as the Huddle, the player murders much of the facilities scientists before
escaping. But in doing so, the player’s sense of autonomy is synthesised. The player no
longer controls the Boy or grey bodies, they control The Huddle. They control a complete
entity. Shortly after beginning to control the Huddle, and escaping, the game ends. The
Huddle sits to the complete Right of the frame. (See, Fig 3.) The player has achieved
synthesis, and freedom.
B129619
(Fig. 3. The Huddle.)
INSIDE is in a plot sense, very simple and very open. Intentionally so, critically the game
was widely acclaimed for how this open and interpretable nature can be significantly
engaging to the player. “The story of Inside isn’t inscribed in stone, but rather inside your
own head” (Matulef, J, 2016) One of the primary advantages of detailing a narrative with a
silent protagonist, and minimal plot points, is that it allows players to engage with their own
imagination. However, this narrative format is flawed as it restricts player choice. In INSIDE,
there is movement, or death. In many of the game’s moral quandaries “The player is merely a
witness to the moral situation and lacks the agency to guide the decision made by the player’s
character.” (Zagal, J, 2009: 7) The player can either act, or cease playing. The game is linear,
offering no choice paths except for an alternate ending hidden from the player, and while this
ending is possible to discover, it is unlikely the player would without external knowledge.
While INSIDE explores many questions about autonomy in relation to the player, it is
surprisingly limiting in how that autonomy extends to the game’s narrative.
To engage the player in a narrative with options, choices cannot be as simple as win or lose,
“The choice situations that are perceived as interesting in a structural sense provide only
incomplete information.” (Domsch, S, 2013: 115) The player must not completely understand
the repercussions of both outcomes, therefore, there needs to be a negative and positive
reaction for any option of a given choice, for that choice to be engaging. “There are
B129619
conflicting arguments for and against each choice that might have probabilities, but no
certainties attached to them.” (Domsch, S, 2013: 115)
Comparable to INSIDE, Florence’s narrative is incredibly simple, and again harmonic.
Florence is a chaptered romance-puzzle game in which you follow Florence through her
relationship with Krish. The couple push one another to pursue their respective interests,
Krish is a cellist, Florence, an aspiring artist. Over time, the couple fall apart, and the player
is left to help Florence move on, leading to the game’s ending of Florence hosting her first
exhibition, having moved on from her relationship.
Florence’s ending has been met with criticism. “Love may be the catalyst in Florence, but it’s
the narcissistic pursuit of their real passion, art, that wins out in the end.” (Andriessen, CJ,
2018) Dismissing the ending as being too pessimistic for the genre, however, I believe in
context this subversion of the romance narrative is essential. The catalyst I would argue, is
not ‘Love’ but rather, ‘Art’. Applying Egri’s framework of thesis, antithesis, and synthesis to
this narrative, clarifies this. If the thesis, is the idea of Florence as the artist, established in
Chapter 2 in a reflection on Florence’s childhood. The anti-thesis then is how Florence’s life
intervenes with this idea, while Krish encourages her, gifting her a painting kit in Chapter 10,
Florence still has to provide for him and herself, supporting his dreams but not her own. This
culminates in Chapter 20, where Florence’s life experience, her relationship and moving
beyond it, is the foundation of her forming herself as the Artist. The synthesis between her
experience and her passion.
Florence is a romance game where the romance is cast aside, in favour of personal growth.
This subversion is a challenge against the genre. However, it is important to address that
“When discussing subversion, it is necessary to know what system […] one is working
against, be it political, social, legal, or cultural” (Flanagan, M, 2009: 10)
Florence is both successful and at a fault in how it challenges social and cultural norms, It
has been praised for it’s inclusivity “it’s even rarer to see games championing diverse stories
that place a woman of colour in the spotlight.” (Cole, A. 2017) yet should be challenged on
how it reinforces stereotypes, specifically regarding gender, through sexist humour. (See, Fig.
4.)
B129619
(Fig.4. Krish’ single hygiene product, a toothbrush)
“Subversion has been identified by several theorists and practitioners as a powerful means for
marginalized groups to have a voice.” (Flanagan, M, 2009: 11) Florence should be both
praised and critiqued for how successfully it does subvert these ideas, as often it can return to
stereotypes. I would argue Florence enacts the same principle of both subverting and
maintaining the status quo, in its approach to player choice. Florence’s provided choices, in
terms of in-game progression, are meaningless. The chapters will always remain the same,
there is no alternate ending. However, the choices are given emotional significance to the
player, because of their narrative consequence within the scene.
In Chapter 10, for example, Krish is moving in with Florence. The player is tasked with
deciding which of who’s possessions will be placed in the apartment, the remainder, going
into storage. (See, Fig. 5.) This is an entirely aesthetic task. The player could, if they so
choose, place the items as quickly as possible in a randomised order and move on. However,
most players, would likely follow the game as prompted, and choose items they themselves
resonate with, or believe the characters would. The player sees the photo of Krish and his
family, and decides it is of greater importance than his skateboard.
B129619
(Fig. 5. The player moves Krish into Florence’s apartment.)
While these choices do not affect the game by changing its overall narrative direction, the
narrative is still linear, they are designed to return later to affect the player. In Chapter 16,
when Krish moves out. He packs up these same items the player positioned in the apartment.
(See, Fig. 6.) The ambiguous circular reticle becomes Krish’s hand. The colours washed
away, and the rain outside, vocal. Your decision alone leads to the emotional weight of this
chapter; it is designed in such a way that it mirrors the experience of a breakup. If the player
randomised their placements earlier, there would be no emotional investment here.
B129619
(Fig. 6. The player, as Krish, moves out of Florence’s apartment.)
This is an example of how “A mechanic or set of mechanics, directly influence the story
through player action.” (Bycer, J, 2012) This design choice is consistent throughout the
game, mechanics emulate the feeling of choice but inform a linear narrative. This is a
significant aspect in the design of both Florence and INSIDE, their respective procedural
rhetoric revolves around mechanics which engage the player into their narratives. Defined by
Ian Bogost as “a practice of using processes persuasively.” (Bogost, I, 2007: 15) Procedural
Rhetoric refers to how a game mechanically communicates an idea to the player. The
procedural rhetoric of Florence is rooted in its exploration of Florence’s relationship.
However, because of the silent nature of the protagonist, and the simplicity of the narrative,
the mechanics often ask the player to impose their own experience of relationships to
Florence’s journey. For example, Chapter 18, Let Go. (See, Fig. 7.)
B129619
(Fig. 7. The player is asked to let go of Krish.)
In Let Go. There is only one comic panel, with no background. The screen displays Florence,
and a ghost-like Krish walking beside her. This chapter’s rhetoric revolves around the
player’s lack of interaction. The player completes this chapter by doing nothing. They must
push a button to begin, then no longer interact for Florence to successfully ‘Let Go’, by
walking away from Krish. It is entirely possible to complete this chapter unknowingly,
however Florence assumes that you will interact with it, push a button, tap, anything. Realise
how you have to complete this puzzle. Then consciously ignore your own instinct to react.
This process mirrors the real-life action of having to ignore a partner to move on, ignore the
temptation to contact them, to interact. You must do nothing, in order to progress. This
rhetoric uses the players own inactivity as a mechanic, to communicate a narrative beat in an
affecting and lasting experience.
Comparatively, INSIDE’s procedural rhetoric is rooted in its theme of autonomy. It is
narrative of a Boy’s struggle against an oppressive world is explored through its central
mechanics of puzzle solving, and platforming, the latter explored largely through running.
The player understands that movement to the right is progression, as the game details this
throughout it’s narrative, every goal is positioned to, the Right. Therefore, outside of chase
scenarios, tension in the game, often stems, from inhibiting that sense of movement right,
challenging the player’s sense of autonomy. One such example of this, stems from a section
where The Boy must avoid being detected by The Threat, to accomplish this the player must
B129619
perform specific actions while spotlighted by security cameras, all the while moving at a pace
set by the other NPC bodies around you. (See, Fig. 8.)
(Fig. 8. The Boy has to blend in with the grey bodies.)
This gameplay element creates fear in the player, in how it limits agency. The player can
only, in this section, act as The Threat desires, otherwise you risk being caught and The Boy,
killed. In his article Defining Game Mechanics, Miguel Sicart addresses how “all games have
manipulated a well-known core mechanic into a process based on tension and release”
(Sicart, M. 2008.) While the chase sequences are certainly effective as a source of tension,
you are leading The Boy to avoid death by running as fast as possible, what I find much more
compelling narratively are these sections where the power of The Threat is exhibited and
more significantly, the impact The Threat has over autonomy. Neither the player nor the boy
understands who controls these bodies, just that they must complete the will of The Threat or
risk destruction. To experience this through the vessel of The Boy is impactful, “By
modifying the player expectations, and meaningfully changing the input procedures, these
games are intended to create emotional experiences based on the agency of players within the
game state” (Sicart, M, 2008) The fear felt by the player in response to this sequence is the
controlled response to the procedural rhetoric of INSIDE.
B129619
Despite the clear differences between INSIDE and Florence, I believe what they say about
autonomy through their implementation of mechanics which challenge their genres is worth
comparing. They are, to some degree, both unique games in their ability to take risks. A silent
protagonist, the embodiment of that risk, and of their approach to storytelling and gameplay.
Word Count: 2730
Ludography:
Arnt Jensen (2016) INSIDE. PS4, XBOX ONE, PC. Playdead.
Ken Wong (2018) Florence. iOS. Annapurna Interactive.
Bibliography:
Salen, K. (2003) Rules of Play: Game Design Fundamentals. Cambridge, Massachusetts. The
MIT Press.
Stuart, K (2014) The Identity Paradox: Why game characters are not us, but should be. The
Guardian.
Available Online: https://www.theguardian.com/technology/2014/apr/24/the-identity-
paradox-why-game-characters-are-not-but-should-be. First Published: 25/04/2018. Accessed
03/12/2020.
Yorke, J. (2013) Into the Woods. London. Penguin Random House.
Egri, L. (1942) The Art of Dramatic Writing. New York. Touchstone.
B129619
Pollitt, K, (1991) Hers; The Smurfette Principle. New York Times.
Available Online: https://www.nytimes.com/1991/04/07/magazine/hers-the-smurfette-
principle.html. First Published: 07/04/1991 Accessed 01/12/2020.
Zagal, Jose P. (2009) Ethically Notable Videogames: Moral Dilemmas and Gameplay.
Available Online:
https://docs.google.com/viewer?url=https%3A%2F%2Fwww.eng.utah.edu%2F~zagal%2FPapers%2F
Zagal-EthicallyNotableVideogames.pdf. Accessed 03/12/2020.
Matulef, J, (2016) What’s going on at the end of INSIDE.
Available Online: https://www.eurogamer.net/articles/2016-07-08-whats-going-on-at-the-
end-of-inside. First Published: 08/07/2016. Accessed 03/12/2020.
Domsch, S. (2013) Storyplaying: Agency and Narrative in Video Games. De Gruyter, Inc.
ProQuest Ebook Central,
Available Online: https://ebookcentral.proquest.com/lib/ed/detail.action?docID=1000613.
Accessed 03/12/2020.
Andriessen, CJ. (2018) Review: Florence. Destructoid.
Available Online: https://www.destructoid.com/review-florence-491831.phtml. First
Published: 27/02/2018. Accessed 03/12/2020.
Flannigan, M (2009) Critical Play: Radical Game Design. MIT Press. ProQuest Ebook
Central,
Available Online: http://ebookcentral.proquest.com/lib/ed/detail.action?docID=3339056.
First Published: Accessed 03/12/2020.
B129619
Cole, A. (2017) Hands-on Preview: Florence. PC Authority.
Available Online:
https://web.archive.org/web/20180413043700/https://www.pcauthority.com.au/feature/hands
-on-preview-florence-476960. First Published: 06/11/2017. Accessed 03/12/2020.
Bycer, J. (2012) Extreme Storytelling: The Use of Narrative Mechanics. Gamasutra.
Available Online:
https://www.gamasutra.com/blogs/JoshBycer/20120611/172156/Extreme_Storytelling_The_
First Published: 06/11/2012. Accessed 03/12/2020.
Bogost, I. (2007) Persuasive Games: The expressive power of videogames. MIT Press,
ProQuest Ebook Central,
Available Online: http://ebookcentral.proquest.com/lib/ed/detail.action?docID=3338706.
Accessed 04/12/2020.
Sicart, M. (2008) Defining Game Mechanics. Available Online:
http://gamestudies.org/0802/articles/sicart. First Published: December 2008. Accessed
03/12/2020.
学霸联盟
Exposition through Play: The Story of the Silent Protagonist.
Florence (2018) and INSIDE (2016) are two games produced by indie developers, with short
average playtimes, and largely silent protagonists. Both narratives are driven visually, by the
players guidance of the protagonist through the provided game’s world. INSIDE, is a
seamless 2.5D Platformer, whereas Florence, is a chaptered interactive story. The primary
source of interaction the player has with these games is through puzzle solving, though in
both cases the puzzles themselves are often used in place of dialogue, detailing theme, and
exposition, alongside being resolved in order to continue the narrative. These games
emphasise the player’s experience of narrative through exposition, environment, and intrigue
rather than aspects of ‘play’. If play can be defined as “free movement within a more rigid
structure” (Salen, K. 2003: 304) I would argue both Florence and INSIDE prioritise their
structure, in the form of their narrative, over playfulness.
To deconstruct the narrative of these games and discuss how they are conveyed through their
respective protagonists, I will be analysing them in terms of plot and mechanics focusing on
how these aspects engage with the player. What approaches they share, alongside what each
game does uniquely. It is important here to address the subjectivity of the player’s
perspective, especially in relation to these games. “Every fictional character exists in a
contested zone between author intention and audience interpretation; but in games, the
position is much closer to the latter party.” (Stuart, K. 2014) While the games themselves
take on distinctly different formats of ‘play’. In INSIDE the player’s avatar is always visible
and controlled across the game’s scrolling plain, whereas Florence’s format is more
ambiguous, often controlling specific actions rather than the whole character’s movements.
However, it is important to note they are both puzzle-solving games. In this same way, both
are reminiscent of their distinctive genres visually, INSIDE is a survival horror and Florence
a romance story, within these genres, both are stories about autonomy. They both debate how
important the players autonomy in the narrative is, and what it means to control the self,
whether that self is a combination of people into a giant Huddle, or a more romantic couple.
INSIDE follows the player control a Boy who is forced to continually run across a post-
apocalyptic environment, chased by a Threat in the form of anonymous guards and animals.
The player solves puzzles to continue The Boy’s journey, in the late game, many of these
involve The Boy using a mind-control machine to control empty grey bodies. The game ends
B129619
with The Boy merging with The Huddle, a creature composed of these disused bodies. As
The Huddle, the player escapes, ending on a beach outside, the sun shines on the player.
INSIDE’s narrative is dystopian and dreary, having a plot that is incredibly simplistic but also
harmonic. In a structural sense the game is classical, almost literal in many ways. The game
taking advantage of narrative structure in the form of mirroring images. “[Acts] form at least
approximate mirror images of each other; each side of the midpoint reflects opposite mental
states; each point of the outward journey is mirrored in its return.” (Yorke, J., 2014: 62)
The game opens with The Boy outside, follows The Boy travel inside, before returning
outside, having literally changed. The ending mirroring the opening. Often narrative change
is interior but, since The Boy’s interior is never explored, exterior is the clearest way of
communicating this idea. The Boy becoming The Huddle is a physical representation of the
natural narrative progression.
Stories can be simplified to the idea of “a thesis. Its contradiction will be antithesis. From the
two will be formed a synthesis.” (Egri, L. 1942: xx) If we take the games thesis as the idea of
Autonomy, using narrative to question the player as to who they control. The game begins on
the Boy, left of frame, and we as the player are asked to move the Boy, Right. (See, Fig 1.)
Two things are assumed in this moment, the Boy is male and the direction we move in, must
be Right. The game is heteronormative in both its lead character and platforming game
design. The thesis of a standard heteronormative platformer is that: We are the player
(assumed to be male) and we move the character in the right direction (assumed to be right)
“The message is clear. Boys are the norm, girls the variation.” (Pollitt, K, 1991)
B129619
(Fig. 1. The opening setting.)
The game’s anti-thesis is introduced in the form of empty grey bodies. (See, Fig 2.) The
gender of these bodies is ambiguous, likewise, is the autonomy of them. We, the player,
control them. But we understand that the Boy, in the game’s narrative, is the one in control.
The puzzles these grey bodies introduce often challenge the player to move Left, solve a
puzzle the player already progressed passed, to allow progression to the Right. The previous
status quo of constant progression to the right is blurred. With ethical dilemma’s in games,
the player is often “one step removed and thus [the dilemma is] potentially less powerful or
effective for eliciting ethical reflection.” (Zagal, J, 2009: 3) Because of the game’s restrictive
narrative, the player is removed, as they have no option aside from controlling the grey
bodies, the Other. They must do so to progress. However, controlling these bodies is an
ethical dilemma for the character, in so far as it leads the player to question the idea of
Autonomy. These bodies are used by The Boy to progress further in the Boy’s journey. Is it
acceptable for the Boy to use these husks to his own ends? Is it acceptable for us to use the
Boy in the same way?
B129619
(Fig. 2. The Boy controlling the ambiguous grey bodies.)
The synthesis is literal, the combination of the Boy and the Bodies, in the form of the Huddle.
The result is chaos, as the Huddle, the player murders much of the facilities scientists before
escaping. But in doing so, the player’s sense of autonomy is synthesised. The player no
longer controls the Boy or grey bodies, they control The Huddle. They control a complete
entity. Shortly after beginning to control the Huddle, and escaping, the game ends. The
Huddle sits to the complete Right of the frame. (See, Fig 3.) The player has achieved
synthesis, and freedom.
B129619
(Fig. 3. The Huddle.)
INSIDE is in a plot sense, very simple and very open. Intentionally so, critically the game
was widely acclaimed for how this open and interpretable nature can be significantly
engaging to the player. “The story of Inside isn’t inscribed in stone, but rather inside your
own head” (Matulef, J, 2016) One of the primary advantages of detailing a narrative with a
silent protagonist, and minimal plot points, is that it allows players to engage with their own
imagination. However, this narrative format is flawed as it restricts player choice. In INSIDE,
there is movement, or death. In many of the game’s moral quandaries “The player is merely a
witness to the moral situation and lacks the agency to guide the decision made by the player’s
character.” (Zagal, J, 2009: 7) The player can either act, or cease playing. The game is linear,
offering no choice paths except for an alternate ending hidden from the player, and while this
ending is possible to discover, it is unlikely the player would without external knowledge.
While INSIDE explores many questions about autonomy in relation to the player, it is
surprisingly limiting in how that autonomy extends to the game’s narrative.
To engage the player in a narrative with options, choices cannot be as simple as win or lose,
“The choice situations that are perceived as interesting in a structural sense provide only
incomplete information.” (Domsch, S, 2013: 115) The player must not completely understand
the repercussions of both outcomes, therefore, there needs to be a negative and positive
reaction for any option of a given choice, for that choice to be engaging. “There are
B129619
conflicting arguments for and against each choice that might have probabilities, but no
certainties attached to them.” (Domsch, S, 2013: 115)
Comparable to INSIDE, Florence’s narrative is incredibly simple, and again harmonic.
Florence is a chaptered romance-puzzle game in which you follow Florence through her
relationship with Krish. The couple push one another to pursue their respective interests,
Krish is a cellist, Florence, an aspiring artist. Over time, the couple fall apart, and the player
is left to help Florence move on, leading to the game’s ending of Florence hosting her first
exhibition, having moved on from her relationship.
Florence’s ending has been met with criticism. “Love may be the catalyst in Florence, but it’s
the narcissistic pursuit of their real passion, art, that wins out in the end.” (Andriessen, CJ,
2018) Dismissing the ending as being too pessimistic for the genre, however, I believe in
context this subversion of the romance narrative is essential. The catalyst I would argue, is
not ‘Love’ but rather, ‘Art’. Applying Egri’s framework of thesis, antithesis, and synthesis to
this narrative, clarifies this. If the thesis, is the idea of Florence as the artist, established in
Chapter 2 in a reflection on Florence’s childhood. The anti-thesis then is how Florence’s life
intervenes with this idea, while Krish encourages her, gifting her a painting kit in Chapter 10,
Florence still has to provide for him and herself, supporting his dreams but not her own. This
culminates in Chapter 20, where Florence’s life experience, her relationship and moving
beyond it, is the foundation of her forming herself as the Artist. The synthesis between her
experience and her passion.
Florence is a romance game where the romance is cast aside, in favour of personal growth.
This subversion is a challenge against the genre. However, it is important to address that
“When discussing subversion, it is necessary to know what system […] one is working
against, be it political, social, legal, or cultural” (Flanagan, M, 2009: 10)
Florence is both successful and at a fault in how it challenges social and cultural norms, It
has been praised for it’s inclusivity “it’s even rarer to see games championing diverse stories
that place a woman of colour in the spotlight.” (Cole, A. 2017) yet should be challenged on
how it reinforces stereotypes, specifically regarding gender, through sexist humour. (See, Fig.
4.)
B129619
(Fig.4. Krish’ single hygiene product, a toothbrush)
“Subversion has been identified by several theorists and practitioners as a powerful means for
marginalized groups to have a voice.” (Flanagan, M, 2009: 11) Florence should be both
praised and critiqued for how successfully it does subvert these ideas, as often it can return to
stereotypes. I would argue Florence enacts the same principle of both subverting and
maintaining the status quo, in its approach to player choice. Florence’s provided choices, in
terms of in-game progression, are meaningless. The chapters will always remain the same,
there is no alternate ending. However, the choices are given emotional significance to the
player, because of their narrative consequence within the scene.
In Chapter 10, for example, Krish is moving in with Florence. The player is tasked with
deciding which of who’s possessions will be placed in the apartment, the remainder, going
into storage. (See, Fig. 5.) This is an entirely aesthetic task. The player could, if they so
choose, place the items as quickly as possible in a randomised order and move on. However,
most players, would likely follow the game as prompted, and choose items they themselves
resonate with, or believe the characters would. The player sees the photo of Krish and his
family, and decides it is of greater importance than his skateboard.
B129619
(Fig. 5. The player moves Krish into Florence’s apartment.)
While these choices do not affect the game by changing its overall narrative direction, the
narrative is still linear, they are designed to return later to affect the player. In Chapter 16,
when Krish moves out. He packs up these same items the player positioned in the apartment.
(See, Fig. 6.) The ambiguous circular reticle becomes Krish’s hand. The colours washed
away, and the rain outside, vocal. Your decision alone leads to the emotional weight of this
chapter; it is designed in such a way that it mirrors the experience of a breakup. If the player
randomised their placements earlier, there would be no emotional investment here.
B129619
(Fig. 6. The player, as Krish, moves out of Florence’s apartment.)
This is an example of how “A mechanic or set of mechanics, directly influence the story
through player action.” (Bycer, J, 2012) This design choice is consistent throughout the
game, mechanics emulate the feeling of choice but inform a linear narrative. This is a
significant aspect in the design of both Florence and INSIDE, their respective procedural
rhetoric revolves around mechanics which engage the player into their narratives. Defined by
Ian Bogost as “a practice of using processes persuasively.” (Bogost, I, 2007: 15) Procedural
Rhetoric refers to how a game mechanically communicates an idea to the player. The
procedural rhetoric of Florence is rooted in its exploration of Florence’s relationship.
However, because of the silent nature of the protagonist, and the simplicity of the narrative,
the mechanics often ask the player to impose their own experience of relationships to
Florence’s journey. For example, Chapter 18, Let Go. (See, Fig. 7.)
B129619
(Fig. 7. The player is asked to let go of Krish.)
In Let Go. There is only one comic panel, with no background. The screen displays Florence,
and a ghost-like Krish walking beside her. This chapter’s rhetoric revolves around the
player’s lack of interaction. The player completes this chapter by doing nothing. They must
push a button to begin, then no longer interact for Florence to successfully ‘Let Go’, by
walking away from Krish. It is entirely possible to complete this chapter unknowingly,
however Florence assumes that you will interact with it, push a button, tap, anything. Realise
how you have to complete this puzzle. Then consciously ignore your own instinct to react.
This process mirrors the real-life action of having to ignore a partner to move on, ignore the
temptation to contact them, to interact. You must do nothing, in order to progress. This
rhetoric uses the players own inactivity as a mechanic, to communicate a narrative beat in an
affecting and lasting experience.
Comparatively, INSIDE’s procedural rhetoric is rooted in its theme of autonomy. It is
narrative of a Boy’s struggle against an oppressive world is explored through its central
mechanics of puzzle solving, and platforming, the latter explored largely through running.
The player understands that movement to the right is progression, as the game details this
throughout it’s narrative, every goal is positioned to, the Right. Therefore, outside of chase
scenarios, tension in the game, often stems, from inhibiting that sense of movement right,
challenging the player’s sense of autonomy. One such example of this, stems from a section
where The Boy must avoid being detected by The Threat, to accomplish this the player must
B129619
perform specific actions while spotlighted by security cameras, all the while moving at a pace
set by the other NPC bodies around you. (See, Fig. 8.)
(Fig. 8. The Boy has to blend in with the grey bodies.)
This gameplay element creates fear in the player, in how it limits agency. The player can
only, in this section, act as The Threat desires, otherwise you risk being caught and The Boy,
killed. In his article Defining Game Mechanics, Miguel Sicart addresses how “all games have
manipulated a well-known core mechanic into a process based on tension and release”
(Sicart, M. 2008.) While the chase sequences are certainly effective as a source of tension,
you are leading The Boy to avoid death by running as fast as possible, what I find much more
compelling narratively are these sections where the power of The Threat is exhibited and
more significantly, the impact The Threat has over autonomy. Neither the player nor the boy
understands who controls these bodies, just that they must complete the will of The Threat or
risk destruction. To experience this through the vessel of The Boy is impactful, “By
modifying the player expectations, and meaningfully changing the input procedures, these
games are intended to create emotional experiences based on the agency of players within the
game state” (Sicart, M, 2008) The fear felt by the player in response to this sequence is the
controlled response to the procedural rhetoric of INSIDE.
B129619
Despite the clear differences between INSIDE and Florence, I believe what they say about
autonomy through their implementation of mechanics which challenge their genres is worth
comparing. They are, to some degree, both unique games in their ability to take risks. A silent
protagonist, the embodiment of that risk, and of their approach to storytelling and gameplay.
Word Count: 2730
Ludography:
Arnt Jensen (2016) INSIDE. PS4, XBOX ONE, PC. Playdead.
Ken Wong (2018) Florence. iOS. Annapurna Interactive.
Bibliography:
Salen, K. (2003) Rules of Play: Game Design Fundamentals. Cambridge, Massachusetts. The
MIT Press.
Stuart, K (2014) The Identity Paradox: Why game characters are not us, but should be. The
Guardian.
Available Online: https://www.theguardian.com/technology/2014/apr/24/the-identity-
paradox-why-game-characters-are-not-but-should-be. First Published: 25/04/2018. Accessed
03/12/2020.
Yorke, J. (2013) Into the Woods. London. Penguin Random House.
Egri, L. (1942) The Art of Dramatic Writing. New York. Touchstone.
B129619
Pollitt, K, (1991) Hers; The Smurfette Principle. New York Times.
Available Online: https://www.nytimes.com/1991/04/07/magazine/hers-the-smurfette-
principle.html. First Published: 07/04/1991 Accessed 01/12/2020.
Zagal, Jose P. (2009) Ethically Notable Videogames: Moral Dilemmas and Gameplay.
Available Online:
https://docs.google.com/viewer?url=https%3A%2F%2Fwww.eng.utah.edu%2F~zagal%2FPapers%2F
Zagal-EthicallyNotableVideogames.pdf. Accessed 03/12/2020.
Matulef, J, (2016) What’s going on at the end of INSIDE.
Available Online: https://www.eurogamer.net/articles/2016-07-08-whats-going-on-at-the-
end-of-inside. First Published: 08/07/2016. Accessed 03/12/2020.
Domsch, S. (2013) Storyplaying: Agency and Narrative in Video Games. De Gruyter, Inc.
ProQuest Ebook Central,
Available Online: https://ebookcentral.proquest.com/lib/ed/detail.action?docID=1000613.
Accessed 03/12/2020.
Andriessen, CJ. (2018) Review: Florence. Destructoid.
Available Online: https://www.destructoid.com/review-florence-491831.phtml. First
Published: 27/02/2018. Accessed 03/12/2020.
Flannigan, M (2009) Critical Play: Radical Game Design. MIT Press. ProQuest Ebook
Central,
Available Online: http://ebookcentral.proquest.com/lib/ed/detail.action?docID=3339056.
First Published: Accessed 03/12/2020.
B129619
Cole, A. (2017) Hands-on Preview: Florence. PC Authority.
Available Online:
https://web.archive.org/web/20180413043700/https://www.pcauthority.com.au/feature/hands
-on-preview-florence-476960. First Published: 06/11/2017. Accessed 03/12/2020.
Bycer, J. (2012) Extreme Storytelling: The Use of Narrative Mechanics. Gamasutra.
Available Online:
https://www.gamasutra.com/blogs/JoshBycer/20120611/172156/Extreme_Storytelling_The_
First Published: 06/11/2012. Accessed 03/12/2020.
Bogost, I. (2007) Persuasive Games: The expressive power of videogames. MIT Press,
ProQuest Ebook Central,
Available Online: http://ebookcentral.proquest.com/lib/ed/detail.action?docID=3338706.
Accessed 04/12/2020.
Sicart, M. (2008) Defining Game Mechanics. Available Online:
http://gamestudies.org/0802/articles/sicart. First Published: December 2008. Accessed
03/12/2020.
学霸联盟
