Player-Character Relationship and Game Satisfaction in Narrative Game: Focus on Player Experience of Character Switch in The Last of Us Part II

Player characters (PCs) are important factors for player engagement in narrative games, but from the perspective of players' subjective experiences, the player's experience and the relationship with PCs have rarely noticed. It suggests that the diversity of players and the importance of PCs in games have a substantial relationship between how the player involves PCs and the satisfaction obtained from the game. Therefore, this study investigated how the relationship between the player and the character affects the satisfaction of the player in the game. We have a hal f-built detailed interview with the 12 players of The Last of US Part II, a game that brings out a strong tw o-pole reaction to the player's reaction to the change of computers in the game. went. Through the theme analysis, three themes were found in relation to the relationship between the relationship between the player and the character and the satisfaction of the whole game. The theme is "tolerance for forced character switching", "elasticity of character image", "flexibility of attachment to characters". Discuss how these discoveries should be considered when designing a variable and meaningful game experience.

1. Introduction

Video games are not only as a means of entertainment, but also as art (FOLKERTS, 2010; Devine, 2017; Chew and Mitchell, 2020), education (Klopfer et al., 2009), healthy (Colder Carras et al.) Games are players. Since the impact of the affiliated (Ferguson, 2007; Prot et al., 2012), it is necessary to deeply understand how players are involved in the game. One of the most important factors for players to participate in the game is the player's character (Mallon, 2008; Tychsen et al.) Player characters (PC) are operated by players and players are games. A game character that can act around the world (Vella, 2016). In this study, it is useful to distinguish PCs from avatars. Although the definition of these terms is inconsistent, avatars generally refer to user digital expressions (NOWAK AND FOX, 2018). Therefore, as you can see in the MMORPG (MASSIVELY MULTIPLAYER ONLINE ROLE-PLAYING GAME) genre, at least the story genre is highly determined by the developer. Be I understand that being the main difference is.

Most of the research exploring the player's computer experience has been conducted in MMORPG genres and avatars (Blinka, 2008; Banks, 2015; Banks et al, 2019). This is probably because the involvement of players in the creation, customization, and development of avatar is more prominent than the default computer. In particular, Haime Banks is studying the relationship between players and avatars in several projects (Banks and Bowman, 2013, 2016; Banks, 2015; Banks et al. In this spectrum, four players-avatar-related. Including a type, it is measured as an object, a symptom, and an emotional intimacy. This model is also applied to a specific game status (Loyer, 2015), which introduces the humorousness and social scale between players and avatar. The improved version (Banks et al. Mmorpg and avatar context, but also in the story games and computers (DRENNAN ET < SPAN> Installing the computer experience of players. Most of the studies have been implemented in MMORPG genres and avatars (BLINKA, 2008; Banks, 2015; Banks et al, 2019). It is thought that the involvement of players in development and development is more prominent, in particular, Haime Banks is studying the relationship between players and avatars in some projects (Banks and Bowman, 2013, 2016; 2015, 2015, 2015, 2015. Banks et al. This spectrum includes four types of players-related types, as an object, me, and others. This model is also applied to a specific game status according to the emotional intimacy and the perceived independence. It introduces the measurement methods that include the humor of the avatar's relationship and the social scale, and focuses on the participation of players in the story games and computers as well as Banks et al. Mmorpg and avatar context. Considering something (most of the research exploring DRENNAN ET players' computer experiences has been conducted in MMORPG genres and avatars (Blinka, 2008; Banks, 2015; Banks et al, 2019). This is probably because the involvement of players in the creation, customization, and development of avatar is more prominent than the default computer. In particular, Haime Banks is studying the relationship between players and avatars in several projects (Banks and Bowman, 2013, 2016; Banks, 2015; Banks et al. In this spectrum, four players-avatar-related. Including a type, it is measured as an object, a symptom, and an emotional intimacy. This model is also applied to a specific game status (Loyer, 2015), which introduces the humorousness and social scale between players and avatar. The improved version (Banks et al. Mmorpg and avatar context, but also in the story games and computers, the participation of players is mainly (DRENNAN ET).

In the context of narrative and story games, computers play two roles: controlling the player in the game and serving as a narrative device for game developers (Lankoski and Bjork, 2008; Jørgensen, 2010). The latter role has been the focus of attention in previous studies. For example, Jørgensen (2010) shows how game developers use game characters to carry the game's story. Lankoski and Bjork (2008) also present a game design method that reflects the character's characteristics and personality in gameplay (Lankoski and Bjork, 2008). Lankoski (2011) also extensively studies PC design in relation to player engagement. He proposes a structure for how PCs engage players in games, which includes the concepts of "recognition," "adjustment," and "obedience." Recognition is how players construct character images based on in-game cues, alignment is how information transfer is structured, and submission is related to players' moral evaluation of the computer (Lankoski, 2011). While the aforementioned studies are theoretical in approach, Drennan et al. (2004) conducted focus group and task force interviews with actual players. The purpose of the study was to

There is a shortage of the same research on the relationship between players and characters, but in character love (Lewis et al., 2008; Burgess and Jones, 2017; Bopp et al, Lewis et al. This includes the identity / friendship, pause of distrust, the dominance, and the dimension of responsibilities (Lewis et al., And CALLEJA (2009) is the altereja (2009) altereja (2009). Introducing the concept and studying the alter biography, explaining how the players themselves create stories about the subjects in the game by understanding the stor y-like clues and elements that appear in the game. Finally, the research of Burgess and Jones (2017) is a concrete game research on the "Mass Effect 3". Interesting and interesting, the theme of the online reviews is the importance of the entire game. He proposes further research to deal with differences seen between players (Burgess and Jones, 2017) in the game as a whole. It is indicated that it is important < Span> The same research on the player and the character is lacking, but character love (2008; Burgess and Jones, 2017; Bopp et al, Lewis et al. , 2008) introduces a slope of attachment to the character, which includes identity / friendship, pauses of distrust, dominance, and dimensions (lewis et al. Regarding the perception, CALLEJA (2009) introduces the concept of alter biography and is studying the story of the alter biography, which is the subject of the game. Explains how the player himself creates a story (Calleja, 2009). Finally, the study of Burgess and Jones (2017) is interesting, exploring attachment and services for characters in specific game examples of opposition games over the ending of "Mass Effect 3". They implement online reviews analysis, and as a result, the theme obtained the importance of the relationship between players and characters in the satisfaction of the whole game. They further propose further research to deal with differences found between players in attachment to characters (Burgess and Jones, 2017). These approaches show that attachment to characters in the game is important in the entire game satisfaction. There is a shortage of the same research on the relationship between players and characters, but in character love (Lewis et al., 2008; Burgess and Jones, 2017; Bopp et al, Lewis et al. This includes the identity / friendship, pause of distrust, the dominance, and the dimension of responsibilities (Lewis et al., And CALLEJA (2009) is the altereja (2009) altereja (2009). Introducing the concept and studying the alter biography, explaining how the players themselves create stories about the subjects in the game by understanding the stor y-like clues and elements that appear in the game. Finally, the research of Burgess and Jones (2017) is a concrete game research on the "Mass Effect 3". Interesting and interesting, the theme of the online reviews is the importance of the player and the character of the whole game. He proposes further research to deal with the differences found between players (Burgess and Jones, 2017) in the game as a whole. It is indicated that it is important.

The attempt to more fully capture the subjective experience of the player when creating the relationship between the player and the character is a PC (it is called an AS avatar in the work, but it cannot be understood as a PC due to the selection of adaptation or selection). This is an ONG (2018) work that tries to understand the process that is created. However, it requires a deeper understanding of how players need to interact with computers and how this relationship affects the satisfaction of the game. There is a theory of moo d-based mood in the theory that tries to explain the satisfaction of the media experience with the characters in the story. In this theory, the viewer's emotional tendency and the impact of the character to the story predicts the fun of media experience (RANEY, 2004). However, such studies do not take into account the context of the game or the relationship between more complex players and characters. Therefore, our research aims to provide more valuable insights in the nature of the relationship between the players and the character itself and the player's satisfaction in the game. < SPAN> A attempt to make the subjective experience of the player when creating the relationship between the player and the character is a PC (which is called an AS avatar in the work, but to understand it as a PC by the selection of adaptation and selection. This is a work of ONG (2018) that tries to understand the process of creating a relationship with). However, it requires a deeper understanding of how players need to interact with computers and how this relationship affects the satisfaction of the game. There is a theory of moo d-based mood in the theory that tries to explain the satisfaction of the media experience with the characters in the story. In this theory, the viewer's emotional tendency and the impact of the character to the story predicts the fun of media experience (RANEY, 2004). However, such studies do not take into account the context of the game or the relationship between more complex players and characters. Therefore, our research aims to provide more valuable insights in the nature of the relationship between the players and the character itself and the player's satisfaction in the game. The attempt to more fully capture the subjective experience of the player when creating the relationship between the player and the character is a PC (it is called an AS avatar in the work, but it cannot be understood as a PC due to the selection of adaptation or selection). This is an ONG (2018) work that tries to understand the process that is created. However, it requires a deeper understanding of how players need to interact with computers and how this relationship affects the satisfaction of the game. There is a theory of moo d-based mood in the theory that tries to explain the satisfaction of the media experience with the characters in the story. In this theory, the viewer's emotional tendency and the impact of the character to the story predicts the fun of media experience (RANEY, 2004). However, such studies do not take into account the context of the game or the relationship between more complex players and characters. Therefore, our research aims to provide more valuable insights in the nature of the relationship between the players and the character itself and the player's satisfaction in the game.

We have decided to conduct research in the story game to investigate how the relationship between players and characters is related to the satisfaction of the whole game. Specifically, we investigated the context of the game titled "The Last of US Part II". In this game, in the middle of the game, in the middle of the game, the character and PC that appeared as the enemy who killed the protagonist of the previous PC were replaced with PCs. The game mechanic has been very polarized for the reaction and satisfaction from the game. Therefore, it seemed to be a great opportunity to explore the relationship between the player and the character's relationship and the satisfaction of the game. To deeply understand the diverse and rich player experience, we chose a qualitative approach and called for a variety of playe r-based samples. We conducted a closely hal f-structured interview with 12 players in The Last of US Part II. We asked them about the overall satisfaction of the game, the experience of games, and how to engage with the game computer. Through theme analysis, the theme is related to the relation of players and characters related to the difference in game satisfaction. The configuration of the research is as follows. In the first section, we will introduce research methods such as participants, data analysis, and game selection. In the next section, the result is a theme for the relationship between the player and the character and the satisfaction of the whole game. In the last section, we will examine and conclude the results of the survey, including ideas regarding the limits of research and future issues. < SPAN> We have decided to conduct research in the story game to investigate how the relationship between the player and the character is related to the satisfaction of the whole game. Specifically, we investigated the context of the game titled "The Last of US Part II". In this game, in the middle of the game, in the middle of the game, the character and PC that appeared as the enemy who killed the protagonist of the previous PC were replaced with PCs. The game mechanic has been very polarized for the reaction and satisfaction from the game. Therefore, it seemed to be a great opportunity to explore the relationship between the player and the character's relationship and the satisfaction of the game. To deeply understand the diverse and rich player experience, we chose a qualitative approach and called for a variety of playe r-based samples. We conducted a closely hal f-structured interview with 12 players in The Last of US Part II. We asked them about the overall satisfaction of the game, the experience of games, and how to engage with the game computer. Through theme analysis, the theme is related to the relation of players and characters related to the difference in game satisfaction. The configuration of the research is as follows. In the first section, we will introduce research methods such as participants, data analysis, and game selection. In the next section, the result is a theme for the relationship between the player and the character and the satisfaction of the whole game. In the last section, we will examine and conclude the results of the survey, including ideas regarding the limits of research and future issues. We have decided to conduct research in the story game to investigate how the relationship between players and characters is related to the satisfaction of the whole game. Specifically, we investigated the context of the game titled "The Last of US Part II". In this game, in the middle of the game, the player is replaced by a character that appeared as an enemy who killed the protagonist of the previous PC. The game mechanic has been very polarized for the reaction and satisfaction from the game. Therefore, it seemed to be a great opportunity to explore the relationship between the relationship between the player and the character and the satisfaction of the game. To deeply understand the diverse and rich player experience, we chose a qualitative approach and called for a variety of playe r-based samples. We conducted a closely hal f-structured interview with 12 players in The Last of US Part II. We asked them about the overall satisfaction of the game, the experience of games, and how to interact with the game computer. Through theme analysis, the theme is related to the relation of players and characters related to the difference in game satisfaction. The configuration of the research is as follows. In the first section, we will introduce research methods such as participants, data analysis, and game selection. In the next section, the result is a theme for the relationship between the player and the character and the satisfaction of the whole game. In the last section, we will examine and conclude the results of the survey, including ideas regarding the limits of research and future issues.

2. Methods

2.1. Participants and Recruitment

Participants were 12, including seven men and five women, and their age was 20 to 40, as shown in Table 1. Participants have a variety of nationality and most of them are Koreans. In order to grasp the diversity of games and computers, we intentionally recruited participants with different nationality and satisfaction with games. The recruitment was made in a snowball method through posting to the university forum and the personal contact of researchers. The conditions for participating in the survey are playing the story if you play both "Last of Ass" and "Last of As Part II" or have not played the second work. I was watching the video to the end. Interview rewards were considerable for $ 30 or local currency. Recruitment processes and ethical considerations have obtained the approval of the Writers' Institute Review Committee.

Table 1

Table 1. Research participants < SPAN> A total of 12 participants, including seven men and five women, and their age was 20 to 40 years old as shown in Table 1. Participants have a variety of nationality and most of them are Koreans. In order to grasp the diversity of games and computers, we intentionally recruited participants with different nationality and satisfaction with games. The recruitment was made in a snowball method through posting to the university forums and the personal contacts of researchers. The conditions for participating in the survey are playing the story if you play both "Last of Ass" and "Last of As Part II" or have not played the second work. I was watching the video to the end. Interview rewards were considerable for $ 30 or local currency. Recruitment processes and ethical considerations have obtained the approval of the Writers' Institute Review Committee.

2.2. Interviews and Thematic Analysis

Table 1

Table 1. The research participants were 12, a total of 12 people, including seven men and five women, and their age was 20 to 40 years old as shown in Table 1. Participants have a variety of nationality and most of them are Koreans. In order to grasp the diversity of games and computers, we intentionally recruited participants with different nationality and satisfaction with games. The recruitment was made in a snowball method through posting to the university forums and the personal contacts of researchers. The conditions for participating in the survey are playing the story if you play both "Last of Ass" and "Last of As Part II" or have not played the second work. I was watching the video to the end. Interview rewards were considerable for $ 30 or local currency. Recruitment processes and ethical considerations have obtained the approval of the Writers' Institute Review Committee.

2.3. Game Choice

Table 1

Table 1. Research participants

To explore the richness and diversity of how participants engage with computer games and to capture all the variables related to game satisfaction, we decided to conduct semi-structured in-depth interviews. This approach allowed us to explore a range of PC-related variables that may be related to game satisfaction and capture the complex context of the game experience. The interviews lasted approximately one hour and were conducted through the Zoom 1 online conference system due to the Covid-19 pandemic. The interviews were conducted in English or Korean and were attended by two researchers. However, one interview with P5 was attended by only one researcher. After an explanation of the consent form, the interviews began. First, general questions were asked about the participants' video game playing history. Next, we asked about the players' backgrounds and expectations before entering the final part II. The main part included questions about the relationships and perceptions of the three main player characters, Joel, Ellie, and Abby. "How would you describe your relationship with this character?", "Has there been any change in your thinking about the character?" " and so on. The full list of questions is available in the supplementary material. The questions aimed to elicit the following:

The interview was transcribed, and the theme analysis was performed using induction coding according to Terry et al. (2017). English is a masterpiece level, Korean is the highest level, and the leading author coded five interviews in English, one interview in Korean, creating the first coding library. After explaining and discussing the coding library, four Korean native coders coded the remaining interviews in Korean using NVIVO software. All coders wrote, shared, and discussed notes. Later, in order to survey the discovery triangle, the three authors fix the theme while repeating discussions, and ultimately decided on three themes on the relationship between players and characters and the satisfaction of the game. The excerpt of the Korean interview introduced in this study was translated into English.

3. Results

The Last of US Part II (NauGhty Dog, 2020) is a PS4 console game and a sequel to The Last of US (NauGhty Dog, 2013). This game is an action adventure shooter, and players mainly operate Ellie and Abbey, two player characters. Players cannot control the story and are drawn mainly using cut scenes and story groups in the environment. Players manipulate the computer for combat and movement.

The reaction and the game satisfaction of this game were very extreme. Meanwhile, he won the Game of the Year Award, the most in history (Stedman, 2020, Calvin, 2021), and was praised by critics and many players. On the other hand, in the game platform "MetACRITIC 2", the players "review" the game (Nunneley, 2020) and left a fierce review. Looking at the breakdown of Metacritic user evaluation, you can clearly see the polarization of this game. Of all MetAcritic user reviews, about 5 % of the pros and cons are mixed, the rest are divided into positive reviews and negative reviews, and there are more positive reviews. The variation of this reaction indicates that the player is in various ways to interact with the computer. Focusing on the story of the game, the complex characters, and the complaints of the main computers of the player, the experience of the player in this game can provide valuable insights on the difference in how to interact with the player. Is shown. For this reason, we chose this game and gave a case study on how the player was involved in the computer and how it was related to the satisfaction of the whole game.

The story of the toy is set in the United States after the implied book, which was infected with a disease that became a zombi e-like food. In the first part, Mr. PC Joel in his forties would take a 1 2-yea r-old Ellie, who would happen to be immunized, to go to a hospital in the United States to find a vaccine for infectious diseases. The two are tied with a deep bond, and they know that Ellie dies in surgery to develop vaccines, and rescues Ellie from the operating table and kills some healthcare professionals and allies. After that, he lies to Ellie what happened.

3.1. Differences in Game Satisfaction and Player Reactions

3.1.1. Game Satisfaction

The second part is five years later, and the player will manipulate Ellie mainly and live peacefully in a safe Jackson town. Abbey appears there and kills Joel violently. Ellie follows Abbey with his friend Dina. After killing some of Abbey, Ellie confronts Abbey, but Abbey kills some of Ellie's friends. After one scene, the player began to manipulate Abbey and learned that Abbey's father was a surgeon that Joel (player) killed in his previous work. Later, the player played as Abbey in the same way for three days before Ellie and continued to manipulate Abbey in the battle with Ellie, but after gaining advantage in the battle, Abbey helps Ellie and Dina. The player who returns to Jackson operates Ellie again. Ellie asks about Abbey's whereabouts and decides to pursue Abbey again, contrary to Dina's will. She finds Abbey caught in another group and exhausted, and after the last battle, she releases her and returns to no one.

3.1.2. Player Reactions

In the following sections, we will explain our discovery. First, I will explain the difference in the overall game satisfaction and the specific player's response to the game. Next, the theme is three aspects of the relationship between players and characters, which is found to be related to the difference in game satisfaction and reactions. Figure 1 shows the relationship between game satisfaction, player's reaction, and the theme of the relationship between players and characters.

3.2. Player-Character Relationship

Figure 1

Figure 1. Overview of games satisfaction, player's reaction, and themes related to the relationship between players and characters. < SPAN> The toy story is set in the United States after the apocalypse, which is infected with a disease that is a zombi e-like food. In the first part, Mr. PC Joel in his forties would take a 1 2-yea r-old Ellie, who would happen to be immunized, to go to a hospital in the United States to find a vaccine for infectious diseases. The two are tied with a deep bond, and they know that Ellie dies in surgery to develop vaccines, and rescues Ellie from the operating table and kills some healthcare professionals and allies. After that, he lies to Ellie what happened.

The second part is five years later, and the player will manipulate Ellie mainly and live peacefully in a safe Jackson town. Abbey appears there and kills Joel violently. Ellie follows Abbey with his friend Dina. After killing some of his friends, Ellie confronts Abbey, but Abbey kills some of Ellie's friends. After one scene, the player began to manipulate Abbey and learned that Abbey's father was a surgeon that Joel (player) killed in his previous work. Later, the player played as Abbey in the same way for three days before Ellie and continued to manipulate Abbey in the battle with Ellie, but after gaining advantage in the battle, Abbey helps Ellie and Dina. The player who returns to Jackson operates Ellie again. Ellie asks about Abbey's whereabouts and decides to pursue Abbey again, contrary to Dina's will. She finds Abbey caught in another group and exhausted, and after the last battle, she releases her and returns to no one.

3.2.1. Theme1: Tolerance of Forced Character Switch

In the following sections, we will explain our discovery. First, I will explain the difference in the overall game satisfaction and the specific player's response to the game. Next, the theme is three aspects of the relationship between players and characters, which is found to be related to the difference in game satisfaction and reactions. Figure 1 shows the relationship between game satisfaction, player's reaction, and the theme of the relationship between players and characters.

3.2.1.1. Resistance to Forced Character Switch

Figure 1

Figure 1. Overview of games satisfaction, player's reaction, and themes related to the relationship between players and characters. The story of the toy is set in the United States after the implied book, which was infected with a disease that became a zombi e-like food. In the first part, Mr. PC Joel in his forties would take a 1 2-yea r-old Ellie, who would happen to be immunized, to go to a hospital in the United States to find a vaccine for infectious diseases. The two are tied with a deep bond, and they know that Ellie dies in surgery to develop vaccines, and rescues Ellie from the operating table and kills some healthcare professionals and allies. After that, he lies to Ellie what happened.

The second part is five years later, and the player will manipulate Ellie mainly and live peacefully in a safe Jackson town. Abbey appears there and kills Joel violently. Ellie follows Abbey with his friend Dina. After killing some of his friends, Ellie confronts Abbey, but Abbey kills some of Ellie's friends. After one scene, the player began to manipulate Abbey and learned that Abbey's father was a surgeon that Joel (player) killed in his previous work. Later, the player played as Abbey in the same way for three days before Ellie and continued to manipulate Abbey in the battle with Ellie, but after gaining advantage in the battle, Abbey helps Ellie and Dina. The player who returns to Jackson operates Ellie again. Ellie asks about Abbey's whereabouts and decides to pursue Abbey again, contrary to Dina's will. She finds Abbey caught in another group and exhausted, and after the last battle, she releases her and returns to no one.

In the following sections, we will explain our discovery. First, I will explain the difference in the overall game satisfaction and the specific player's response to the game. Next, the theme is three aspects of the relationship between players and characters, which is found to be related to the difference in game satisfaction and reactions. Figure 1 shows the relationship between game satisfaction, player's reaction, and the theme of the relationship between players and characters.

Figure 1

3.2.1.2. Gradual Acceptance of Forced Character Switch

Figure 1. Overview of games satisfaction, player's reaction, and themes related to the relationship between players and characters.

Satisfaction with The Last Of Us Part II varies greatly from player to player. As shown in Table 1, players' satisfaction is often either very high or low. Players who were very satisfied with the game described their experience similarly to P5: "I think it's one of the bravest stories I've ever been involved in." Conversely, other players expressed frustration similar to P12: "What did I play this emotionally abusive trash game for?" Players had mixed feelings about the game, acknowledging positive and negative aspects, such as P4: "It was really well made, but it already had good baggage, expectations from the player (...) It was poorly constructed, narratively (...)." To better understand the differences in satisfaction with the game overall, we looked at more specific player responses to the game, as described in the next section. Satisfaction with The Last Of Us Part II varies greatly from player to player. As shown in Table 1, players' satisfaction is often either very high or low. Players who were very satisfied with the game described their experience similarly to P5: "It was really well made, but it already had good baggage, expectations from the player (...) It was poorly constructed, narratively (...)." I think it's one of the bravest stories I've ever been involved in. ” Conversely, other players expressed a similar frustration to P12: "What did I play this emotionally abusive garbage game for?". Players had mixed feelings about the game, acknowledging positive and negative aspects, such as P4: "It was really well done, but it already had good baggage, expectations from the player (...) It was, narratively, (...) poorly constructed." To better understand the differences in satisfaction with the game overall, we looked at more specific player responses to the game, as described in the next section. Satisfaction with The Last of Us Part II varies greatly from player to player. As shown in Table 1, players' satisfaction is often either very high or low. Players who were very satisfied with the game described their experience in the same way as P5: "I think it's one of the bravest stories I've ever been involved in. ” Conversely, other players expressed a similar frustration to P12: "What did I play this emotionally abusive garbage game for?". Players had mixed feelings about the game, acknowledging positive and negative aspects, such as P4: "It was really well made, but it already had good baggage, expectations from the player (...) it was narratively (...) poorly constructed." To better understand differences in overall game satisfaction, we explored more specific player responses to the game, as described in the next section.

The differences in satisfaction with the game were reflected in how players responded to the game. There were some clear commonalities between how players who liked and disliked the game responded to certain events and elements of the game. These events and elements were (1) the reactions of players who were forced to play as the Abby character and (2) players' perceptions of the different computers. First, almost all players initially showed great reluctance, confusion, and anger when they were forced to control the Abby character, since the Abby character was the one who had brutally killed the previous computer's Joel. However, players differed in how they dealt with the constant obligation to play Abby. Players who were less satisfied with the game consistently showed great resistance and either quit the game very unwillingly or quit the game. Players who later showed high ratings for the game reported that they gradually accepted the game engine and began to engage with the new computer. Second, there was a great deal of variety in how players perceived and described the three main computers featured in the game. Players who did not like the game criticized how the character's actions were irrational and impersonal, and how Abby seemed like a tool of the game programmer to convey a message. On the other hand

Next, we present three themes found regarding the participants' interactions with the PC. Each theme shows how each aspect of the player-character relationship relates to the player's reactions and overall satisfaction with the game. Figure 2 shows the relationship between each theme for low and high satisfaction scenarios.

Figure 2

3.2.2. Theme 2: Flexibility of Character Attachment

Figure 2. Relationship between high and low game satisfaction and themes.

3.2.2.1. Fixation on Attachment to Ellie and Joel

The most controversial aspect of The Last of Us Part II is that players are forced to play as Abby, a character that appears in the media. In order to progress in the game, players have no choice but to play with her. This caused some participants to voice their anger, but not all of them were resistant to this game mechanic. Some players who were highly satisfied with the game evaluated this forced change of perspective as something that helped them change their view of the character Abby in retrospect.

All participants except two were initially very reluctant to be forced to play the role of Abby. Of the reluctant participants, five did not rate the role of Abby by the end of the game. These players strongly resisted being forced to play in a way that they did not want to and had no choice. In particular, the role of the player who made them do so was strongly emphasized, and their anger was directly addressed in the development. P8 explains that the character of Abby felt like a tool used by the developers to teach the player something. As a result, as P8 states, players were no longer able to immerse themselves in the game.

P8: "Every time I played as Abby, it was really unbearable. (I was Neil Drachman's avatar.) The character Abby. So I still feel like Neil Drachman is trying to convey the message of the game through Abby, but it doesn't feel natural like it did in (Part) 1. So I couldn't have positive feelings for Abby's character even if I wanted to. So playing her was like torture and exhausting. There was no immersion at all."

P8 further stated that being forced to play Abby directly in particular made it impossible to bond with the character:

P8: "If Abby had always been on the other side, not as a character that you could play, and the situation was something that could be played in a cinematic way, I think I would have been able to empathize at least a little bit (...), but because it was forced on the 'user' directly, I felt repulsed."

Therefore, it can be understood that the elimination of the dynamic game itself, that is, as an independent element, has been strongly rejected by a dissatisfied player. Therefore, this problem is closely linked to the continuous resistance to Abbey. The rejection was strongly correlated with the player's evaluation and ultimate satisfaction. P1 states, "If you don't want the game to play, it's not a good game." In a broader sense, the player did not accept the forced play as a story tool, which seemed to be contrary to what a game was or that should be. This is in contrast to the experience of other participants in this study, as described in the next section.

3.2.2.2. Forming New Attachment to Abby

Most of the participants who showed high satisfaction in the game were very reluctant to forcibly operate Abbey characters. However, except for the dissatisfied players, the decision to make AB Bee in contrary to the player's will, as the P5 explains, as the participants begin to change their perspective on Abbey's characters, is a bold and effective storytelling. It was evaluated as a device.

P5: "I was furious at Abbey until I played as Abbey. In other words, in the first number of scenes I played as Abbey, I don't want to play as Abbey, she hates, her terrible, her. I really want to play the life of the person who has really enjoyed it, but I think it's a genius story. I think it's a brave thing to talk about a story that is a very smart way.

Another participant said that using the game media was attracted to the fact that players could understand and experience characters different from other media, such as literature. < SPAN> So it can be understood that the elimination of the dynamic games themselves, that is, as independent elements, was strongly rejected by the dissatisfied player. Therefore, this problem is closely linked to the continuous resistance to Abbey. The rejection was strongly correlated with the player's evaluation and ultimate satisfaction. P1 states, "If you don't want the game to play, it's not a good game." In a broader sense, the player did not accept the forced play as a story tool, which seemed to be contrary to what a game was or that should be. This is in contrast to the experience of other participants in this study, as described in the next section.

Most of the participants who showed high satisfaction in the game were very reluctant to forcibly operate Abbey characters. However, except for the dissatisfied players, the decision to make AB Bee in contrary to the player's will, as the P5 explains, as the participants begin to change their perspective on Abbey's characters, is a bold and effective storytelling. It was evaluated as a device.

P5: "I was furious at Abbey until I played as Abbey. In other words, in the first number of scenes I played as Abbey, I don't want to play as Abbey, she hates, her terrible, her. I really want to play the life of the person who has really enjoyed it, but I think it's a genius story. I think it's a brave thing to talk about a story that is a very smart way.

Another participant said that using the game media was attracted to the fact that players could understand and experience characters different from other media, such as literature. Therefore, it can be understood that the elimination of the dynamic game itself, that is, as an independent element, has been strongly rejected by a dissatisfied player. Therefore, this problem is closely linked to the continuous resistance to Abbey. The rejection was strongly correlated with the player's evaluation and ultimate satisfaction. P1 states, "If you don't want the game to play, it's not a good game." In a broader sense, the player did not accept the forced play as a story tool, which seemed to be contrary to what a game was or that should be. This is in contrast to the experience of other participants in this study, as described in the next section.

3.2.3. Theme 3: Malleability of Character Image

Most of the participants who showed high satisfaction in the game were very reluctant to forcibly operate Abbey characters. However, except for the dissatisfied players, the decision to make AB Bee in contrary to the player's will, as the P5 explains, as the participants begin to change their perspective on Abbey's characters, is a bold and effective storytelling. It was evaluated as a device.

3.2.3.1. Holding Onto Character Image of the Player

P5: "I was furious at Abbey until I played as Abbey. In other words, in the first number of scenes I played as Abbey, I don't want to play as Abbey, she hates, her terrible, her. I really want to play the life of the person who has really enjoyed it, but I think it's a genius story. I think it's a brave thing to talk about a story that is a very smart way.

Another participant said that using the game media was attracted to the fact that players could understand and experience characters different from other media, such as literature.

P6 "I was really surprised. Of course, there is such an initiative in the world of literature, but it is really difficult for A to kill B and to elucidate it from the side of A. It's really difficult. But that's possible through the game, but I often think it's like a skill unique to a game (... It was really wonderful and wonderful to solve the story. "

In summary, almost no one of the participants was immediately understood to take the player's organization. However, the satisfied player began to evaluate this forced character play as an effective tool to change the concept of computers, and was an important game experience. However, for unfaithful players, it seems that their independence seems to be the central part of the game experience, which is directly confronted by developers using a computer freely as a stor y-related device. there were. Thus, their eyes seemed to be taking the fun of the game not only in the player's service but also to convey their messages. This led to the intense anger at the developer. Furthermore, because it was a sequel to a game that was not so harsh, many players do not expect such an experience and understand what kind of game the "The Last of US Part II" is. At the time, what had already been purchased also contributed to amplifying the player's dissatisfaction. The reaction to the forced play is explained in theme 3, and as shown in FIG.

This topic relates to what kind of attachment the participant has to have on the computer. We have established a strong attachment to the computers, Joel and Ellie in the first part, and how other players have created a new computer, Abbey. Is shown. As a result, the latter player gained an important emotional game experience that leads to high game satisfaction.

3.2.3.2. Adjusting Character Image According to Transient Situations

All participants reported that they were familiar with the computer that appeared in the first part of the game, but for some players, this attachment directly hindered the motivation to form a new attachment to Abbey PCs. 。 First, the participants reported that they had attached to the first PC as the emotional attachment that was not felt by Abbey characters was gradually created.

P7: "I don't think it's because I can't ignore the attachment to the first work. As I said earlier, Joel, who was frustrated by Ellie at first, gradually became warm and warmed up. But I couldn't feel such a delicate feeling. "

Furthermore, unlike players who are highly satisfied with their close friends and movies, most of the players who are strong in the game are immersed as P12 stated, as mentioned by P12. He reports that he is projected on a computer or looks at his computer like an alter ego.

P12: "Joel is my alter ego when playing this game. I have to understand this character while playing, and he moves like me, so he is my alter ego and game. I can't choose the story inside, but I feel that I can control it directly and act in the game. "

This close connection with this computer may not be able to be transferred to another computer treated by P8.

4. Discussion

4.1. Connection to Related Theories

P8: "Anyway, there is always an emotional bond while playing from Joel's point of view, so even if you play Ellie, Ellie is Joel's ally, so you can play like her and emotionally. If you can share the bond, why do you have any excuses to play like her? "

For the remaining participants, it seemed possible to form a new attachment to the character Abbey while maintaining attachment to Ellie and Joel. After playing the game, it is clear that the player has attachment to both the main Ellie and Abbey, and this conflicting attachment is one of the important experiences reported that the player has evaluated the game. It was. The degree of attachment to Abbey varies. However, the common feature of satisfactory players is that everyone had some attachment to Abbey. P9 explains how this internal love conflict is enhanced in Ellie and Abbey's last match.

P9: "I think this game will be a true highlight. At that time I was very sympathetic to Ellie's sadness, but I can understand the changes in Abbey's life and ideas, so it is very painful to see one dying. ""

While participants' engagement with the characters varied, a frequently mentioned theme was Abby's relationships with Yara and Lev, and moments in which Abby shows flaws or weaknesses, as shown in the following two excerpts:

P3: "But in the second game, I think the turning point was when she met Yara and Lev.

4.2. Implications, Contributions, and Future Work

P5: "What really impressed me about playing Abby was that she's scared of heights. I'm also scared of heights, and the game really captured that fear when she looked down (...). I have a similar reaction to my fear of heights, so being able to see and hear that in real life was a moment where I could empathize with her."

In summary, the dissatisfied group only had strong attachments to Joel and Ellie, while the satisfied group all formed some degree of attachment to the Abby PC. The former were not able to form new attachments because they were strongly immersed in the first-party PCs or had been proposed to, while the latter attached to Abby through new relationships and hardships.

A final theme is how players themselves construct and adapt their mental image of the computer. An interesting difference was observed between some participants who viewed certain character actions as "unreasonable" and criticized the game's realism and logic on that basis, and other players who actively created their own interpretations of the character's actions.

A common criticism from participants who were disappointed with the game was how absurd the story was, and especially how the character's actions made no sense. This resulted in a strong negative reaction and a negative evaluation of the game overall, especially when the character in question was the player's favorite computer and its actions were combined with a less positive character representation. This was illustrated by P12, who strongly criticized Joel's logic changing from the first to the second part of the game.

P12: "What I couldn't understand even more was that in part 1, Joel was initially more wary of humans than zombies, and if he was that strong and could survive in any situation, then in part 2 he was too weak to do anything and was killed by Abby's team, which made me think it was a setting mistake. I was really angry. (It wasn't the Joel I know.)"

Note that the last sentence "it wasn't the Joel I know" suggests that the character's representation deviates from the image he constructed for the computer. Also, when P8 says that NPC Inconsistencies in the negatively evaluated computer behavior were also criticized, as seen when explaining how upset he was with Abby's inconsistent behavior in stopping Dina.

Data Availability Statement

P8: "Why does Abby behave like this here? If she does something common sense or like what she showed last time, I think she would do the massacre ending, but now she doesn't kill this? This alienation from the first impression of her as a goalkeeper who kills everything, but actually she's a good person."

Ethics Statement

The participant explains that he felt this inconsistency was because the developers wanted to bring out the point that Abby is actually a good character, but she was portrayed unnaturally in the game.

Author Contributions

On the other hand, some participants flexibly adjusted their image of the character based on new information provided in the game and created their own interpretation of the underlying reasons for the computer's behavior. P6, like P12 mentioned above, Unlike in the previous game, I interpreted the change in Joel's behavior as him starting to gain the ability to trust people thanks to Ellie, and I saw this as a progression of the character.

Funding

P6: "This is just my interpretation, but in Joel's case, it seems like he finally started to believe in humanity. He believed in people and built a community. He was full of distrust at first, but after meeting Ellie, he started to trust her and became dependent on her, but also joined the community. I understood this as a kind of growth from his perspective, and I interpreted it as him starting to trust people. Of course, if you look at the realism of the game, you could also interpret it as Joel just becoming more curious, but now he has started to trust people deeply."

Conflict of Interest

P6 further explains that he does not question the "logic" or "realism" of characters, but rather likes to talk about the underlying motivations that drive them as a way of approaching characters in games and literature.

Publisher's Note

P6: "In this play, I'm a guy who thinks more on the inside of people, why does this person have to act from that point of view, rather than thinking from the outside that this character doesn't make sense or is unrealistic. So I never believed in things like, "What's going on with this person?" I don't think about these things, there are a lot of hidden meanings, and it's the same with real people. I don't say, "This person is like this, so there must be a reason for this person, this person's actions are unrealistic. That's what I think. (I try to treat them the same as real people.)"

Acknowledgments

Overall, this can be seen as a contrast to the way character images are constructed in the player's mind, which is mainly in contrast to what is represented in games. The difference between the two is how players themselves create and adapt their mental image of the character. Participants who were the former type of player were more likely to give negative evaluations of the game's character representation, citing how meaningless the characters were, and showing overall dissatisfaction with the game, whereas participants who were the latter type of player praised the game for being interesting and the characters for being complex, and showed high overall satisfaction with the game. This tendency is likely due to individual differences among players. However, it can also be hypothesized that players' willingness to create a narrative in their mind that justifies the character's actions is strongly influenced by their reaction to forced gameplay and their overall attitude toward the game.