Vogler's steps Classification criteria

Does the player control his

character since the
beginning of the
adventure?
Does the player see on the
screen his avatar act by his
own will (cinematic,
scripting narration)
Is the player heading to the
scenaristic element going to
trigger the main plot ?
Is the game that will drive
the character to start the
main plot, by an element of
the scenario ?
Indeed, the hero is
reluctant and it's only
visible through a suggestive
staging.
No, at least it cannot be
perceived, because the
player as an embodiement
of his avatar, initiates the
action.
Does the player meet this
character via a cinematic?
Does the player meet him
during the exploration of
the game environment?
Is this theashold clearly
visible and expressed in a
cinematic or a cut-scene?
Is this transition made more
subtle by the change from
one game zone to another
by the player?
Does the player start his
adventure by fighting one
or more foes?
The hero undergoes ordeals, meets allies and foes.
The hero in his familiar world: an introduction meant to
underline the extraordinary aspect of the adventures which
are to follow.
The call for adventure which appears as a problem or a
challenge to take.
The hero is first reluctant, he's afraid of the unknown.
The hero is guided by amentor, an old wise man or else.
Sometimes the mentor will give a magic weapon, but he will
not join the hero who will be alone to face his ordeals.
The hero crosses the threshold of his adventure, he's now in
an extraordinary world, he can't go back.
Does the player start his
adventure by meeting an
allie?
Is this place stressed out by
an element of scipting
narration?
Is this place brought along
by an element of inferred
narration?
If you had the impression to
fight the Final Boss, how is
this fight suggested?
If you hadn't the impression
to fight the Final Boss, did
this fight did not show it?
Has the player succeeded in
finding what he had to after
his confrontation with
death?
Has the player failed in
obtained what he was
seeking after his
confrontation with death ?
Is the player watching an
element of scripting
narration?
Is the player playing an
element of inferred
narration?
Has the player still got an
interaction with the game
(triggers an element of
inferred narration)?
Is the player blank of any
interactions (triggers an
element of scripting
narration)?
Does the player see his
character use the object of
his quest?
Does the player not see his
character use the object of
his quest?
The hero undergoes ordeals, meets allies and foes.
The hero has reached the evilest place, often tucked deep
down, where the object of his quest is concealed.
The hero undergoes his final ordeal, he faces death.
The hero has seized the object of his quest: the elixir.
Pacing back, the character often has to escape the vengeance
of those from whom the object was robbed.
The hero comes back from the extraordinary world where he
was transformed by his experience.
The coming back to the ordinary world and the use of the
object of the quest to improve the world (endowing the
adventure with a meaning).
If so, what are their nature
?
If not, simply indicate it.
OUT OF CONTEXT : Does the game offer one or more
secondary plots (to understand better some elements of the
main plot, to get a better insight of the characters embodied
by the player, to know more the universe in which the player
is...) ?
Game n1 Game n2
The Legend of Zelda : Majora's Mask Final Fantasy VII
Game n3 Game n4
Half-Life Metal Gear Solid
Game n5 Game n6
Super Mario 64 Resident Evil
Game n7 Game n8
World of Warcraft Bit Trip Runner
Game n9 Game n10
Heavy Rain Journey