The clash between diegetic and non-diegetic elements in Hellblade: Senua's Sacrifice

Iacovides et al. (2015, p. 1) distinguish game interface elements into two categories: diegetic elements, which are integrated into the game's fictional reality and can be perceived by the characters, and non-diegetic elements, which are exclusive to the players' perspective. According to these authors, common wisdom in the games industry suggests that excessive use of non-diegetic elements, such as Head-Up Displays (HUDs), can potentially compromise the immersion process. Hellblade: Senua's Sacrifice challenges this convention, offering a remarkable demonstration of how these concepts can be manipulated to deepen the player's experience.



The game stands out for its almost complete elimination of non-diegetic elements. The absence of a health bar, a map, or equipment indicators forces the player to interpret information organically. Senua's health and status are communicated through signals that, while functionally essential for progression, are intrinsically rooted in the narrative. The damage suffered by the character, for instance, is expressed by the progression of a dark "corruption" spreading across her right arm, a visual manifestation of the protagonist's mental illness.



However, one of the game's highlights lies in the fusion between diegesis and the non-diegetic experience. In this regard, we turn to Galloway (2006, pp. 6-7 ), who defines diegesis as the "total world of narrative actions". From this perspective, we can hypothesise that in Hellblade, this world is the subjective and chaotic universe of Senua's mind. Elements that would conventionally be non-diegetic in other games, such as audio cues indicating the path or voices warning of enemy presence, are, in reality, manifestations of the character's psychosis. The player does not receive mere hints; they experience the diegesis of insanity, where the perception of reality is mediated by Senua's suffering. The game's hermeneutics, therefore, cease to be a detached interpretation and become a real-time performance, where the act of playing and interpretation merge into the immersive experience proposed by the system.

The game thus demonstrates that the distinction between diegetic and non-diegetic can be intentionally obscured to create a more cohesive and psychologically immersive gaming experience. By eliminating the HUD and transforming feedback elements into an integral part of the narrative and character perception, Hellblade not only enhances immersion but also establishes a pattern for interface design that seeks to deepen the connection between the player and the fictional universe. Building on this, it is possible to argue that in Senua's Sacrifice, the player potentially experiences a "meta-diegesis." Here, we employ this term to understand a meta-diegetic situation as one that refers to elements which, although intrinsically belonging to the game's diegetic world, communicate directly with the player, subtly subverting the fourth wall. The voices in protagonist Senua's mind represent a compelling application of this idea.

The meta-diegetic nature of Senua's voices can be understood from three analytical perspectives. Firstly, their existence is diegetically grounded: they do not constitute an external narrator or an interface element dissociated from the narrative. On the contrary, they are a central manifestation of the character's psychosis, affecting her perception and interaction with the world. Secondly, they perform an essential non-diegetic function for gameplay. They act as a dynamic feedback system, providing the player with alerts about imminent threats, spatial guidance, and hints for puzzle-solving – functions that, in other games, would be delegated to a HUD or conventional narrator cues.

Finally, the use of voices blurs the boundary between player and character. By merging narrative function with gameplay, the game transcends the mere presentation of information, inviting the player to actively experience Senua's ordeal. The anguish, confusion, and cognitive dissonance caused by the voices become part of the player's immersive experience, and not merely an object of observation. Therefore, the voices in Hellblade constitute a paradigmatic meta-diegetic element, functioning as an interface that deepens immersion rather than breaking it, and offering a sophisticated approach to how narrative elements can be co-opted to optimise the interactive experience.

Meticulous observation of the diegetic, non-diegetic, and meta-diegetic elements in Hellblade: Senua's Sacrifice forms the methodological foundation for an in-depth analysis of the game as an empirical object. By examining the intentional elimination of traditional interface elements (HUD) and the subsequent adoption of a meta-diegetic interface, represented by the voices tormenting the protagonist, it becomes possible to unravel the complexity of its structure.

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References

Galloway, A. R. (2006) Gaming: Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press, pp. 6-7.

Iacovides, I., Cox, A. L. and Kennedy, R. (2015) ‘Diegetic and Non-Diegetic Interface Elements in Digital Games: A Review of Prior Work’. In Proceedings of the 2015 Annual Symposium on Computer-Human Interaction in Play. London: ACM, p. 1.

What was the Video Game Cultures conference like?

Last week, I attended the Video Game Cultures conference in Prague, Czech Republic. It was an excellent three-day event with a lot of content to consider and reconsider in the fields of game design and gaming studies.

I presented my work Minimal resources, maximal horror: a study of the game IRON LUNG, and had the opportunity to admire great ideas from all my colleagues there. I hope soon I'll be posting the complete article here in Gaming Conceptz.

A special thanks to my friend Daniel Riha, who captained the entire event and gave us an epic welcome in Prague. Here are some good photos from the conference.









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Video Game Cultures 2025 - 10-12 September 2025 at Charles University, Prague (CZ)

Between September 10th and 12th, the VIDEO GAME CULTURES conference will take place at Charles University in Prague, Czech Republic. I will be presenting my work in person during the "horror spaces" session, and I'm sharing the abstract of my paper with you all below. (I'll also be sharing the full article soon).



Minimal resources, maximal horror: a study of the game IRON LUNG

This paper explores the minimalist approach to horror in David Szymanski's indie game, IRON LUNG, within the context of dystopian and apocalyptic narratives prevalent in contemporary video game culture. IRON LUNG distinguishes itself by its stark, low-fidelity visuals and audio, creating an atmosphere of profound dread with minimal resources. This study examines how these limitations, rather than hindering the player's experience, amplify the sense of isolation and claustrophobia, core tenets of effective horror design.

The analysis delves into the game's setting: a desolate, rust-covered ocean on a moon entirely submerged in blood, where the player navigates a submarine using rudimentary sonar. This environment, rendered in a limited colour palette and simple geometric shapes, evokes a sense of vast, unknowable danger. The paper argues that this minimalism forces the player to engage their imagination, filling in the gaps with their own fears, thereby intensifying the horror experience.

Furthermore, this paper discusses how indie game development allows for unique, experimental concepts that often diverge from mainstream titles. IRON LUNG exemplifies this, showcasing how creative constraints can lead to innovative gameplay and narrative design. By eschewing high-fidelity graphics and complex mechanics, the game focuses on psychological horror, relying on atmosphere and sound to create tension. This study concludes that IRON LUNG's success lies in its ability to maximise horror through minimalism, demonstrating the power of restraint in video game design.

Keywords: Indie Games, Horror Games, Minimalism, Dystopia, Apocalypse, Game Design, David Szymanski, IRON LUNG.

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There are no fixed rules in UX for games, and everything can be reconfigured

Last month, the Brazilian publisher SENAC released my new book, "Introdução para UX em games" (Introduction to UX in games). There is no English version yet, but I'd like to share a translated excerpt from the book that I'm very fond of.



If we are designing an e-commerce site for a wide audience, for practical reasons, we would never use a black background with dark blue text and out-of-focus photos to facilitate the online shopping experience. However, in a game, this is perfectly valid, especially if we are using this "hidden" text as part of a puzzle to be solved. The first game in the Silent Hill series uses this technique a lot, forcing the player to explore the scenery in search of clues, weapons, equipment, and ammunition. In this case, "complicating" the player's life is what brings the game experience to life.

We often say that explaining a game's procedures is a basic part of an experience with a beginning, middle, and end. But the game Tunic explains nothing to the player. You literally have to guess the commands and use your experience from other games you've played to progress through the narrative. Of course, there are various tutorials on the internet to illustrate the content of Tunic, but the game's unique feature is that you get to fumble through and solve each phase with guesses, hunches, and prior knowledge from other experiences. In the case of a food delivery app, however, we don't want the "challenge" of figuring out how to order a meal; we want something with clear instructions.

We've also mentioned the need for clarity of elements, icons, figures, shapes, colors, and so on, in an interface. But games with a bullet hell premise, such as Enter the Gungeon, are interesting precisely because they make the interface chaotic, creating a challenge of dexterity to escape enemy fire. The stroboscopic effect on the screen in Super Hexagon is a deliberate hindrance that makes sense within the game's skill-based challenge. If we are choosing a movie on a streaming service's interface, the last thing we want is an infinite number of graphical elements or flashing lights getting in the way of reading a review or accessing a movie or series' trailer.

Everything can be reconfigured, re-signified, and remodeled in terms of UX.

Perhaps the great differentiator of your game is a "mistake" in UX standards. The experiences on other platforms help us to compose something more concise and impactful. The game Baba is You is famous for allowing the player to interfere with the level's programming and change the behavior of the elements on the screen. Every level of Baba is You starts with some error or problem in the interface, and you have to move programming blocks to reconfigure the scenario and solve the game's puzzles.

To do this, you need a repertoire. You need to play everything, to experience everything in playful terms. Mixing experiences from other areas—not just games—is also a differentiator that can be surprising in terms of user experience. Above all, most of the time we are not going to develop games for ourselves or for audiences who are similar to us. The exercise of alterity and putting yourself in the target audience's shoes is what will make a difference when creating the experience.

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About the idea of “kingmaker” in games

A kingmaker in the context of gaming refers to a player or faction that, while unlikely to win themselves, possesses significant influence over the outcome of the game by supporting or hindering other players. This pivotal role arises from their ability to tip the scales in favor of one contender over another, effectively deciding who will emerge victorious. Their power often stems from holding critical resources, controlling strategic positions, or wielding sufficient military strength to sway the balance of power.

The kingmaker's motivations can vary widely, ranging from self-preservation and a desire to see a specific rival fail, to strategic alliances that promise future benefits or simply the enjoyment of manipulating the game's dynamics from a position of relative safety.



The emergence of a kingmaker introduces a fascinating layer of strategic depth and negotiation to a game. Players vying for victory must consider not only their direct opponents but also how to court or neutralize the kingmaker's influence. This can involve offering concessions, forming temporary alliances, or even attempting to eliminate the kingmaker if their interference becomes too detrimental. For the kingmaker, their position offers a unique opportunity to experience the game from a different perspective, often involving complex calculations about long-term consequences and the satisfaction of shaping the narrative without bearing the full burden of direct competition. This dynamic often leads to intense diplomatic exchanges and unexpected shifts in power. Ultimately, the kingmaker phenomenon highlights the intricate social and strategic dimensions inherent in many multiplayer games. It underscores that victory is not always a linear path but can be heavily influenced by external factors and the interplay of player relationships. Recognizing and understanding the role of a kingmaker is crucial for both aspiring champions and those who find themselves in this powerful, albeit indirect, position. Their presence transforms a simple contest into a complex web of alliances, betrayals, and strategic maneuvering, making the game experience richer and more unpredictable.

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The origin of Mario’s iconic jump sound

Today I want to share a masterclass of sound design. Enjoy it!



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What defines a good digital prototype in game design?

A digital prototype within the context of professional game development serves as a crucial instrument for validating core concepts and mitigating risks before committing significant resources. Unlike paper prototypes or conceptual documents, a digital prototype offers an interactive, albeit rudimentary, representation of the intended player experience. Its primary function is not aesthetic fidelity or feature completeness, but rather the tangible exploration of fundamental mechanics, systems interactions, and the overall game loop. A truly effective digital prototype transcends mere technical demonstration; it becomes a dynamic testbed for design hypotheses, enabling teams to confront and evaluate the experiential core of their project early in the lifecycle.


Some screenshots from the digital prototype of my last game The Perilous Chapel

The hallmark of a superior digital prototype, particularly for seasoned game designers, lies in its inherent capacity to facilitate rapid and meaningful iteration. The development landscape is characterized by constant refinement, and a prototype's value is directly proportional to how efficiently it allows designers to test variations, implement feedback, and pivot based on empirical findings. This iterative potential is paramount. A good prototype is architected for change, allowing for swift adjustments to core mechanics, control schemes, or system parameters without requiring extensive refactoring. It prioritizes flexibility and modularity, enabling designers to isolate variables, conduct focused playtests, and gather actionable data that informs subsequent design decisions, ultimately accelerating the journey towards a compelling and well-tuned gameplay experience.

So, while various factors contribute to a prototype's utility, its effectiveness for professional game designers is most significantly defined by its ability to serve as a catalyst for iteration. A good digital prototype is not merely a proof-of-concept but an adaptable experimental platform. It provides clear, interactive feedback on core gameplay, is structured for efficient modification, and empowers design teams to refine their vision through cycles of testing and adjustment. Investing in the creation of prototypes optimized for iteration is therefore not just a best practice, but a strategic imperative for navigating the complexities of modern game development and increasing the probability of delivering a successful final product.

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