The Evolution of Cut Scenes in Interactive Audiovisual Narrative: Classification of Functions and Characteristics
Culture of Ukraine
The purpose of the article is to identify key patterns in the evolution of cut scenes through the development and application of a comprehensive classification that analyzes the relationship between their technological characteristics and narrative functions. The object of the study is the cut scene as a tool for interactive audiovisual narrative. The subject of the study is the evolution of the functions and characteristics of cut scenes in the context of changing technological approaches and design solutions. The relevance of the article lies in the need to fill the existing gap in the scientific discourse regarding a holistic, systematized understanding of the evolution of cut scenes. During the study, an evolutionary classification was developed that distinguishes four main stages of the development of cut scenes: the stage of emergence (1980s), the era of dominance of CD-ROM and FMV (1990s), the period of transition to 3D graphics in real time (late 1990s — 2010s) and the modern stage of interactivity (since 2010s). The scientific novelty of the study lies in the first attempt in Ukrainian scientific discourse to comprehensively systematize the functions and characteristics of cut scenes in the dynamics of their historical development.
Results of the classification
Co-authored with O. V. Bezruchko. The evolutionary classification distinguishes four stages: emergence (1980s); CD-ROM and FMV dominance (1990s); transition to real-time 3D (late 1990s–2010s); and the contemporary interactive stage (from the 2010s). The vector of change runs from external narrative inserts toward integration with gameplay, where authored narration borders on simulation and the player’s role shifts from spectator toward expanded agency.
The study also separates author’s narration (e.g. scripted events) from system simulation as different narrative phenomena, and contrasts integration-first philosophies with cinematography-first design approaches.
Conclusions
A historical classification of cut scenes supplies a structured toolkit for interactive storytelling research and design. Filling this gap in Ukrainian scholarly discourse enables clearer case analysis, reception studies, and future work on generative AI cut scenes.
Full text: DOI 10.31516/2410-5325.090.10.
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