#narrativetheory

Sources and Significance Bog 1

This post looks at an emotional scene from God of War Ragnarök and how its storytelling engages the player.

In God of War Ragnarök, there is a scene where Atreus’ wolf Fenrir dies… , that scene literally hits different. I picked this scene because it’s not about fighting or boss battles it’s just pure emotion. You can actually feel what Atreus is going through, and the game doesn’t rush it. It’s slow, painful, and honestly one of the realest moments in the whole game.

If we look at this scene using Todorov’s (1971) narrative structure, it follows a clear progression. The equilibrium is Atreus caring for Fenrir in a calm, intimate setting. The disruption occurs when Fenrir suddenly collapses. The recognition is visible as Atreus realises he cannot save him. The resolution comes when Atreus accepts this and comforts Fenrir in his final moments. This leads to a new equilibrium, where the emotional loss becomes part of Atreus’ character development.

The scene also makes strong use of binary oppositions as described by Lévi-Strauss (1963). Binary oppositions are opposing concepts that help structure meaning within narratives. In this scene, life vs death and innocence vs reality are particularly clear. Atreus represents emotional openness and hope, while the inevitability of death introduces harsh reality. Another important opposition is control vs helplessness. Although Atreus wants to change fate, he is confronted with the limits of his power.

What makes the scene even more powerful is how the game makes you stay in the moment. No clicks , no fighting just you, Atreus, and Fenrir. The breat slows, the music drops, and you genuinely feel like you’re right there. It doesn’t feel like a cutscene it feels personal.

This scene reminds you that Ragnarök isn’t just gods and battles. It’s about loss, growth, and those moments that stay with you long after the story moves on. That’s what makes it unforgettable.

The Short Read

In God of War Ragnarök, the scene where Atreus’ wolf Fenrir dies is one of the most emotionally powerful moments in the game. I chose this scene because it avoids action and focuses completely on emotion. The moment is slow and quiet, allowing the player to truly feel Atreus’ pain and understand his emotional state. This makes the scene feel real and deeply personal.

References

The Witcher: A Blend of Traditional and Experimental Narratives

One example of a transmedia property that skilfully combines conventional and experimental storytelling is the Witcher Game Series by CD Projekt Red and its Netflix Adaption. Also, the Geralt of Rivia, a monster hunter traversing a morally complex world full of danger, magic, and political intrigue, is at the center of the story. Pulling on the theory of Vladimir Propp’s character archetypes, also the Geralt represents the main hero. In contrast, Ciri acts as the queen or goal, and the Wild Hunt embodies the offensive force.

Figure 1: The Witcher- A Blend of Traditional and Experimental Narratives

Also, this blog has emphasized the ethical structure of narratives which underpins the franchise storytelling. While using a theory such as Todorov’s equilibrium, the narrative arc develops as the routine of Geralt's monster-slaying is spoiled by the coming risk of the Wild Hunt. Also, it begins with the journey to save the Ciri, which was marked by some points of identification and solutions to the overcoming challenges of Geralt. The ending shows a new balance with stepping into Ciri into her predestined roles.

Figure 2: The Wild Hunt - A Menacing Force in the Narrative

By examining themes like good Vs evil (Geralt Vs the Wild Hunt), nature versus the supernatural (human struggles in a magical world), and freedom versus responsibility, Levi-Strauss’s concept of binary oppositions further will improve the narratives. Also, both the players and viewers find resonance in these oppositions, which improves the narrative's intricacy.

Figure 3: Geralt in Battle

The game’s player-driven emergent narrative structure highlights the experimental nature of interactive storytelling by standing in stark contrast to the series Netflix which executed and preset plot. Also, in the end, The Witcher franchise builds narratives such as traditional and experimental which highlights the energy interactively in games to enhance the deep engagement which compared to unbent some formats like televisions (Janosov, 2022).

References:

CD Projekt Red. (2015). The Witcher 3: Wild Hunt. Official Website. Retrieved from https://thewitcher.com/en/witcher3.

After going back and forth for a while between films (Megamind and Shrek 2), I decided to go with ‘Shrek 2′  (Dreamworks studios, 2004). I already know the plot and characters fairly well and think it would fit the question that I chose well. I those the essay questions ‘Make a Proppian analysis of an animated fairytale and discuss animations particular suitability for fantastical tales’. 

Hi, all! 

I made a blog to start curating and showcasing my materials for the research topic, “Non-Western Storytelling Narratives”. For this topic, I am going to examine one of the most celebrated author of South Korean picture books, Heena Baek, in particular. 

Some of Heena Baek’s celebrated picture books include: 구름빵 (Cloud Bread), 이상한 엄마 (The Strange Mom), 이상한 손님 (The Strange Guest), and 장수탕 선녀님 (Longevity Bathhouse Nymph). 

I will post more about her picture books, translations, interviews, art-making process, materials she use, characters, South Korean Culture, and more!

Stay tuned -- Peace & Love,