The evolution of cut scenes in interactive audiovisual narrative: classification of functions and characteristics

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. The lack of such systematization complicates a deep analysis of narrative mechanisms in interactive media. The development of an evolutionary classification will provide researchers with a structured toolkit for further study of interactive storytelling. The methodology. The study is based on a comprehensive approach that combines general scientific and special methods. The method of scientific literature analysis was applied to process sources and form a conceptual framework; the historical method to consider the evolution of cut scenes in chronological sequence; methods of analysis and synthesis to decompose the phenomenon into key characteristics and functions; the case study method to analyze representative projects; the classification method to develop the final typology. The theoretical basis of the work is the works of R. Klevjer, J. Juul, S. Stang, as well as Ukrainian researchers who studied related topics. The results. 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 analysis of these stages allowed us to identify a key vector of evolution — from external, isolated narrative inserts to full integration with the gameplay, where the author’s narration borders on simulation. This process was accompanied by a transformation of the player’s role: from a passive spectator, characteristic of the early stages, to an active participant with expanded agency. For a clearer classification of integrated forms of cutscenes, it is proposed to distinguish between author’s narration (e.g., “scripted events” in Half-Life) and system simulation (e.g., character behavior in The Elder Scrolls), which allows us to analyze them as different narrative phenomena. Based on this, two polar design philosophies were analyzed: an approach focused on full integration and immersion (Half-Life), and an approach that prioritizes cinematography and emotional impact (Death Stranding). 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. The proposed classification fills the existing theoretical gap and offers a structured toolkit for analysis. The practical significance of the article lies in the fact that its results can be used for further scientific research into the mechanisms of interactive storytelling. The developed classification opens up prospects for a deeper study of individual cases, receptive studies, as well as innovative forms, in particular the use of generative AI to create cut scenes.