Playing the narrative: An analysis of philosophies & emotions in narrative-driven video games: An analysis of philosophies & emotions in narrative-driven video games
Translated title
Playing the narrative: An analysis of philosophies & emotions in narrative-driven video games
Authors
Hetemi, Blerim ; Frost, Kristian Fragtrup
Term
4. term
Education
Publication year
2026
Abstract
This thesis examines three video games—BioShock, The Last of Us, and Red Dead Redemption 2—and how their ergodic nature, meaning works that require non-trivial effort to traverse, creates emotional resonance and philosophical engagement. It situates these games within broader literary traditions and explores how player agency reshapes the traditional roles of author, text, and audience. To connect game mechanics and player experience, the study draws on several frameworks: Espen Aarseth’s cybertext theory on navigating ergodic works; Miguel Sicart’s ethics of computer games on player morality and the moral implications of mechanics; Clint Hocking’s concepts of ludonarrative harmony and dissonance to assess whether gameplay and story pull in the same direction; Mihaly Csikszentmihalyi’s flow theory and Gordon Calleja’s model of immersion to explain how pacing and design foster engagement; and Robert J. Yanal’s paradox of fiction alongside Aaron Smuts’ paradox of painful art to clarify why we feel genuine emotions toward fiction and seek out challenging narratives. In BioShock, the city of Rapture is read as an Objectivist society inspired by Ayn Rand; the choice to harvest or spare the Little Sisters works as a critique of Rand and unsettles the player’s sense of agency. In The Last of Us, Jeremy Bentham’s and John Stuart Mill’s utilitarianism frames the debate over whether Joel’s decision to save Ellie is immoral or can be justified. In Red Dead Redemption 2, Arthur Morgan’s moral journey is interpreted through Søren Kierkegaard’s existentialism, showing how different play styles can foster an aesthetic or ethical orientation. Recognizing the subjectivity of players, the thesis concludes that active engagement is crucial to realizing the emotional power of narrative-driven games. There is no single correct way to play; with the right engagement, games can serve as a philosophical and emotional simulation of the self.
Dette speciale undersøger tre videospil—BioShock, The Last of Us og Red Dead Redemption 2—og hvordan deres ergodiske karakter, dvs. værker der kræver en ikke-triviel indsats at gennemløbe, skaber følelsesmæssig resonans og filosofisk engagement. Studien placerer spillene i en bredere litterær tradition og ser på, hvordan spillerens handlekraft (agency) ændrer de klassiske roller mellem forfatter, tekst og publikum. For at forbinde spilmekanik og spiller anvendes flere teoretiske rammer: Espen Aarseths cybertekstteori om, hvordan man navigerer i ergodiske værker; Miguel Sicarts etik for computerspil om spillerens moral og mekanikkernes moralske implikationer; Clint Hockings begreber ludonarrativ harmoni og dissonans til at vurdere, om spillets handling og mekanikker trækker i samme retning; Mihaly Csikszentmihalyis flow-teori og Gordon Callejas model for immersion, der forklarer, hvordan tempo og design skaber indlevelse; samt Robert J. Yanals fiktionsparadoks og Aaron Smuts’ paradoks om smertefuld kunst, der belyser, hvorfor vi føler ægte følelser over for fiktion, og hvorfor vi søger fortællinger, der kan gøre ondt. I BioShock læses byen Rapture som et objektivistisk samfund inspireret af Ayn Rand; valget mellem at høste eller skåne Little Sisters fungerer som en kritik af Rand og udfordrer spillerens oplevelse af handlefrihed. I The Last of Us bruges Jeremy Benthams og John Stuart Mills utilitarisme til at belyse uenigheden om, hvorvidt Joels beslutning om at redde Ellie er umoralsk eller kan retfærdiggøres. I Red Dead Redemption 2 analyseres Arthur Morgans moralske rejse gennem Søren Kierkegaards eksistentialisme, og hvordan forskellige spillestile kan forme en æstetisk eller etisk orientering. Specialet anerkender spillernes forskellighed og konkluderer, at aktivt engagement er afgørende for at udfolde den følelsesmæssige styrke i fortællingsdrevne spil. Der findes ikke én rigtig måde at spille på; med det rette engagement kan spil fungere som en filosofisk og følelsesmæssig simulation af selvet.
[This abstract has been rewritten with the help of AI based on the project's original abstract]