,

Fear

GenericSpace

BlendedSpace

Input Point 1:World

ofTLOU

Input Point 2:World

ofTLOU

Process of comparing & meaning making

GenericSpace:

Compare & Blend

BlendedSpace:

New meanings& ways

CharacterPerspective

A

CharacterPerspective

BInput Space 1 Input Space 2Cross-Space Mapping

Natali Panić-ČidićStudent Master of ArtsLiterary Studies & Linguistics

On Character Analysis and Cognitive Narratology:Why You Cried at the End of „The Last of Us“

Abstract

The framework of cognitive narratology is used for the character development in The Last of Us (Sony, 2013). In particular, I will account for the high emotional bond between the player and the characters. My central claim is that this relation-ship depends on the plot structure and narration, traits entirely appropriateto the story-driven games genre. Applying the cognitive narratology will allowme to provide an account of games ability to affect players perception of it.

Introduction

The story of The Last of Us is carried out by the two main protagonists, Joel and Ellie, and their actions/reactions with the narrative elements of the game. The most important narrative element is the character’s development, which the player enables by interacting. On this idea, the player witnesses a character’s development from the beginning on and establishs a relation-ship to the protagonists. This way, the player understands Joel’s tragic past and is aware of his connection to Ellie. There are specific events marking the change in a character, which are responsible for the player-character bond. Analyzing these specific events, or character perspectives as it is referred to in the Blending framework, can help us understand why some players “care” for their characters.

References

The Last of Us. Dir. Neil Druckman, Bruce Straley, Sony, 2013.

Grounded. The Making of ‘The Last of Us’. Directed by Jeffrey Keith Negus. Area 5, 2013

Hartner, Markus. Blending and the Study of Narrative. Approaches and Applications. Ed. Ralf Schneider. Berlin: De Gruyter, 2012

Herman, David. “Cognitive Narratology”. The Living Handbook of Narratology. Ed. Peter Hühnet al. Ham- burg: Hamburg University, 2011.

Herman, David. Storytelling and the Sciences of Mind. Cambridge: MIT Press, 2013.

Keen, Suzanne. “A Theory of Empathy”. Narrative, vol. 14, no. 3, Oct. 2006, pp. 207-236.

Landay, Lori. “Interactivity.” The Routledge Compa- nion to Video Game Studies. Ed. Mark J.P.Wolfand Bernard Perron. New York, London: Routledge, 2014.173-184.

Nünning, Vera. “Introduction to Cognitve Approaches to the Study of Narratives”. New Approaches to Narrative. Cognition - Culture - History. Ed. Vera Nünning. Trier: WVT, 2013. 23-29.

Results:

Input Space 1+2: world of TLOU which influences Joel’s five character perspec-tives. CP 1-5: some of the important events that mark a change in his character. Cross-Space Mapping: All character perspectives are formed by Joel’s fear of loss. Generic Space: Anxiety from the cross-space mapping is projected here to form new information.Blended Space: New-formed information is used in the backward projection to understand Joel’s decisions and character changes. Understanding character’s choices is vital for the player to connect with the story/characters. Additionally, other narrative elements, such as collectibles, provide us with a certain background knowledge that we use to relate to Joel’s character.

What do we learn about Joel? Joel finds in Ellie “something you keep fighting for” as he says to her in the epi- logue of the game. He changed from a mourning father, to a ruthless and careless smuggler, to a carrying father.

What is cognitive narratology and how can you benefit from it?

Humans love storytelling and assigning meanings to events. The field of cognitivenarratology deals with exactly these phenomena. According to Vera Nünning, “cognitive narratology developed out of cognitive sciences and it offers a deeper in-sight into the relation between narrative and the human mind” (Nünning, p.7). Withcognitive narratology you can for instance look at the triggers of emotion in a story. Being flexible in use, cognitive narratology is a perfect mediator between games studies and literature because it is transmedial in scope and “it is con-

cerned with mind-relevant aspects of storytelling practices, wherever – and by whatever means – those practices occur” (Herman, p. 307).

Recommended Reading: Patrick Hogan, Affective Narratology and Suzanne Keen, Empathy and the Novel.

Thesis

There is a high emotional bond between the player and the character that de-pends on the narrative structure which is embedded in Joel’s and Ellie’s character development.

How can you trace a character’sdevelopment?

You need to identify events that confront character’s current believes and mark a change. The easiest way to define these events is to replay the game and look for them. After this

identification process you can use the framework of Blending.

Blending is concerned with character’s perspectives and how they contribute to the interpretation of nar-

rative signs and symbols. The expandable model (see above) shows the process where the player overlaps or blends mental spaces to make meaning out of new information and actions.

Recommended Reading: Markus Hartner, Blending and the Study of Narrative.

Why you care for Joel & Ellie?

The narrative style of The Last of Us (characters carry out the story) offers the player to experience a gradual character development. The player is able to re-late to the changes and in combination with the narrative elements, player’s em-pathy is evoked. Why some players might have experienced an emotional ending is because they care. Take the emotional epilogue of the game, the players know what Joel has been through and understand why he lies to Ellie; why he saved her life and probably sacrificed any chanceat saving millions of other people.

Character Development Analysis for Joel