Harry Potter and the Prisoner of Azkaban: Manipulation Time

Harry Potter and the Prisoner of Azkaban: Manipulating TimeThe use of time manipulations in books and games

BA-thesis ACWN.C. Vijlbrief

[email protected]

Supervisor Connie Veugen

Harry Potter and the Prisoner of Azkaban: Manipulating Time

Ik verklaar hierbij dat deze scriptie een oorspronkelijk werkstuk is, dat uitsluitend door mij vervaardigd is. Als ik informatie en ideeën aan andere bronnen heb ontleend, heb ik hiervan expliciet melding gemaakt in de tekst en de noten.

Woubrugge, 15 augustus 2009

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Contents

Chapter 1: Introduction.....................................................................................................................................4Chapter 2: Time as a narratological element: the use of time in literary fiction................................................6

2.1 Narratives..............................................................................................................................................62.2 Diegetic and mimetic time in literature..................................................................................................92.3 Manipulations of time..........................................................................................................................11

Chapter 3: Use of time in games in comparison to literature..........................................................................163.1 Time in games......................................................................................................................................163.2 Time manipulations in games..............................................................................................................203.3 Similarities and differences in the representation of time between books and games..........................23

Chapter 4: The representation of time in Harry Potter and the Prisoner of Azkaban ......................................254.1 Introduction.........................................................................................................................................254.2 The Book Harry Potter and the Prisoner of Azkaban...........................................................................254.3 The PC game Harry Potter and the Prisoner of Azkaban.....................................................................284.4 The PS2 game Harry Potter and the Prisoner of Azkaban....................................................................33

Chapter 5: Similarities and differences between different media in representing time in the narrative of Harry Potter and the Prisoner of Azkaban.................................................................................................................39

5.1 Introduction.........................................................................................................................................395.2 Decelerating or accelerating time........................................................................................................395.3 Flashbacks and Simultaneity................................................................................................................415.4 Cut-scenes and pauses.........................................................................................................................445.5 Other relevant issues of time................................................................................................................48

Chapter 6: Discussion.....................................................................................................................................52Bibliography...................................................................................................................................................57

Primary sources.........................................................................................................................................57Secondary sources ....................................................................................................................................57Illustrations................................................................................................................................................58

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Chapter 1: Introduction

When telling a story, a narrative to be exact, different media can be used; such as books, movies, or

television shows. But what about games?1 In his article 'Games telling stories? A brief note on

games and narratives' Jesper Juul proposes that games are not narratives2, however in his book

Half-Real he also states that some games do have narratological aspects.3 What kind of aspects are

used, for instance space or character development, differs per game.

Time will always be an element in narrative games, for instance the time 'the telling of' the

story itself takes, the moment in time it takes place or the time it takes to finish the game. Time in

narratives can also be manipulated to achieve a specific effect such as suspense.4 Literary theory

distinguishes different kinds of time manipulation, for instance speeding up the story time. Some

forms of time manipulation that are used in books, like flashbacks and flash-forwards, are said to be

practically impossible in interactive, narrative games.

“Flash-forwards are highly problematic, since to describe events-to-come would mean that the player's actions did not really matter. Using cut-scenes or in-game artifacts, it is possible to describe events that led to the current fictional time, but an interactive flashback leads to the time machine problem: The player's actions in the past may suddenly render the present impossible. This is the reason why time in games is almost always chronological.”5

When a narrative is first told in another medium, and then retold in a game, often some of the time

manipulations will have to be changed in order for the game to be playable.

In this paper I will look into the differences in time manipulations that are used between

books and games. The research will attempt to answer the following question: How is time

represented and used in the book and games of Harry Potter and the Prisoner of Azkaban,

specifically when time manipulations are concerned? In order to answer this question I will also

look into the general differences in the representation of narratological time between books and

games.

For my research I will first study known literature about narratological time and the way

time is represented in literature and in games. Afterwards I will examine the representation of time

in the Harry Potter and the Prisoner of Azkaban book and the PC and Playstation2 games

1 Whenever I speak of 'games' I will mean both PC and console games.2 Juul 20013 Juul 2005, pp. 156-1624 Boven, van and Dorleijn 1999, pp. 260-2665 Juul 2005, pp. 147-148

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separately. Similarities and differences between the book and the games will be reported. My key

issue in this paper will be time manipulations, especially the way the games represent the time-

turner scene where Harry Potter and Hermione go back in time to save both Sirius Black and

Buckbeak.

In the remaining chapters of this thesis I will therefore first explain the terms 'narratives' and

'narratology' in chapter 2, followed by a discussion on diegetic and mimetic narration and time

representation, specifically in literature. In chapter 3 I will be discussing the theories of Jesper Juul

and Mark Wolf about the representation of time in games. I will also discuss the differences and

similarities between time representation in literature and games. In chapter 4 I will describe how the

different media represent the Time-Turner scene. Notable similarities and differences in these

representations will be discussed in chapter 5. In this chapter I will focus on time manipulations:

flashbacks, flash-forwards, simultaneity, changing telling speed or pausing the fictional time. The

conclusions to my research questions can be found in chapter 6. Here I will answer my research

question and give suggestions for further research.

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Chapter 2: Time as a narratological element: the use of time in literary fiction

Narratology is the study of narratives, the telling of events. Time is one of the many narratological

aspects and time manipulations are a specific element of narratological time. Manipulations of time

can evoke certain emotions in the recipient, like suspense, or they can help in the development of a

character.6

This chapter explains narratives, time in stories and time manipulations in literature. In

section 2.1 narratives will be explained in general. Section 2.2 is about diegetic time, the time in

storytelling. I will show that there are several aspects of time. Section 2.3, about manipulating time,

shows that there are specific techniques to manipulate time, the sequence of the events being told

can, for instance, be rearranged, with flashbacks and flash-forwards. Speeding up time, or slowing it

down are also manipulations of time.

2.1 NarrativesNarratives are the telling of an event, or a set of events. In the following paragraphs I will discuss

narratives, narratology and diegetic time, as a specific mode of looking at a narrative.

Narrative

The Routledge Encyclopedia of Narrative Theory gives the following definition of a narrative: “a

type of text able to evoke a certain type of image in the mind of the recipient”7.

“Representing a common view among narratologists, H. Porter Abbott reserves the term 'narrative' for the combination of story and discourse and defines its two components as follows: 'story is an event or sequence of events (the action), and narrative discourse is those events as represented'. Narrative, in this view, is the textual actualisation of story, while story is narrative in a virtual form.”8

A narrative can describe fictional or non-fictional events. However narrative is usually defined as

the telling of fictional events. This is how it will be used in this thesis. Ryan sums up three

characteristics a story needs to have before it is a narrative:

“1. A narrative text must create a world and populate it with characters and objects. [..]

6 Boven, van and Dorleijn 1999, pp. 260-2667 Herman, Jahn and Ryan 2008, p. 3478 Ibid, p. 347

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2. The world referred to by the text must undergo changes of state that are caused by nonhabitual physical events: either accidents (“happenings”) or deliberate human actions. [..] 3. The text must allow the reconstruction of an interpretive network of goals, plans, causal relations, and psychological motivations around the narrated events.”9

Narratology

In her introduction Ryan explains that narratology, the study of narratives, is meant to study

narrative medium-free. She refers to Claude Bremond who postulated that a story would not lose its

essential properties when being transferred from one medium to another.10 In other words, when a

person is able to retell the events, it is a narrative. Ryan however, is more critical. She thinks the

medium is important for the story as it will shape the story with possibilities and boundaries.

“Even when they seek to make themselves invisible, media are not hollow conduits for the transmission of messages but material supports of information whose materiality, precisely, “matters” for the type of meanings that can be encoded. Whether they function as transmissive channels or provide the physical substance for the inscription of narrative messages, media differ widely in their efficiency and expressive power.”11

Therefore, though narratives are not bound to a specific medium, the chosen medium has great

influence. The same narrative can be told using different media but will be differently structured

and therefore might lose some of its properties. The question is whether essential information would

be lost.

Ryan also discusses how some media do not really tell stories; but rather evoke narratives:

“I propose to make a distinction between “being a narrative” and “possessing narrativity”. The property of “being” a narrative can be predicated on any semiotic object produced with the intent of evoking a narrative script in the mind of the audience. “Having narrativity,” on the other hand, means being able to evoke such a script.”12

Most photographs and paintings can not explain a sequence of events when viewed separately. The

viewer therefore needs to construct the possible story by herself.13 In Ryan's view the photograph is

a narrative, but it does not possess narrativity. A novel is a good example of a medium that has

narrativity. The novel can express the whole story.

9 Ryan 2004, pp. 8-910 Ibid, p. 111 Ibid, pp. 1-212 Ibid, p. 913 There are exceptions where pictures depict more than one event, for instance medieval paintings often depict a

whole narrative in one illustration.

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Narrative modes: diegetic and mimetic

Narratology these days focuses mainly on narratives across media. Herman, Jahn and Ryan explain

that the term 'narratology' was first introduced by Tzvetan Todorov in Grammaire du 'Décaméron.

Todorov was a structuralist. He saw structuralist narratology as a method to analyse narratives.

“Narratologists such as Gérard Genette, Algirdas Julien Greimas, and Todorov participated in the same structuralist revolution, viewing particular stories as individual 'narrative messages' supported by a shared semiotic system whose constituents and combinatory principles it was the task of narratological analysis to bring to light.”14

There are many aspects of narratives that are worth looking into, depending on the field of interest:

space, time, characters, motive, and the micromyth15 for instance. This paper focuses on the

narratological element of time.

Ryan's opinion is that language is the medium of choice for studying narrative.

“Theoretically, narrative is a type of meaning that transcends particular media; practically, however,

narrative has a medium of choice, and this medium is language.”16 It is true that stories from the

early ages were told, retold and later written down. “But, if narratology is to expand into a medium

free model, the first step is to recognize other narrative modes, that is to say, other ways of evoking

narrative scripts.”17 She explains five different pairs to use when studying narratives:

diegetic/mimetic, autonomous/illustrative, receptive/participatory, determinate/indeterminate,

literal/metaphorical. In this thesis I will limit myself to the diegetic/mimetic mode.

“A diegetic narration is the verbal storytelling act of a narrator. As the definition indicates, diegetic narration presupposes language, either oral or written; it is, therefore the typical mode of the novel, conversational storytelling, and news report. A mimetic narration is an act of showing: a “spectacle,” as David Bordwell characterizes it (Narration 3). [..] Mimetic narration is exemplified by all dramatic arts: movies, theater, dance, and the opera. But each of these two modes can intrude into a narration dominated by the other.”18

Although most movies and games also have language, whether in speech or written text, they

mainly use mimetic narration.19 As I touch on the use of narratological time in the book and the

14 Herman, Jahn and Ryan 2008, p. 57115 Doniger talks in her book The Implied Spider. Politics & Theology in Myth about micromyths, “The micromyth is

the neutral structure that I have been describing, the nonexistent story with no point of view.”(1998, p. 88) It is the details of the story that different variants in different cultures have in common.

16 Ryan 2004, p. 1317 Ibid18 Ibid19 There are exceptions where diegetic narration makes up all or a large part of the game, for instance the text

adventure games.

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games of Harry Potter and the Prisoner of Azkaban, I will therefore examine both diegetic and

mimetic time.

2.2 Diegetic and mimetic time in literatureThe following paragraphs are about narratological time, which has different elements: the moment

in time when it takes place, the story time and the discourse time. In this paragraph I will specify

these three types of time for literature. I will talk about the conjugation of verbs in literary fiction

that tell us the amount of time between the moment the story took place and the moment of its

telling. I will also discuss the signal words found in texts, which are used to construct the story or to

tell the reader how much time has gone by since the last event.

Time in narratives

There are a lot of different ways in which time in a narrative works. Some are media specific, some

are cross media. In van Boven and Dorleijn the following four different ways time is used in stories

are discussed: historical time, the time between the moment the story took place and the time it is

being told, story time and discourse time.20 Elkins talks about another sort of time, internal time,

which will be discussed after these four.21

Story time

First of all there is 'story time', the time the whole story takes, from the beginning to the end, in the

fictional world. This can be a day, if the topic is a day in the life of someone, it can be a year or a

few years, or it can be multiple centuries. For a written text it does not matter if only a day or a few

centuries pass from the first event to the last, both can be represented equally well.

This doesn't mean all this elapsed time is told. The narrative can miss certain parts of the

whole story. For instance, if someone is going to bed in one sentence of the text and in the next she

is at her work, the reader assumes that at least a night has gone by, she slept, woke up, etcetera. This

is called 'discontinuity'. The reader will have to fill in the blanks. When the events take place one

after the other, the story is 'continuous'. You might know exactly how much time has passed, for

instance because a clock is used, or you might have only a faint idea of the time that has passed.

In a text there are signal words that cue the reader to the amount of time that has gone by.

When there are no clear time indications of the amount of time that has passed, it could be hours,

20 Boven, van and Dorleijn 1999, pp. 239-27021 Elkins, p. 10

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days, or maybe even years, this is called 'diffuse time'. For diffuse time words like 'then',

'afterwards', 'later' can be used. It might be that seconds have passed, or days, the reader can only

guess. A reader could also see signal words like 'at 2 pm', 'in the year 1930'. This would be 'marked

time'. Marked time can be really specific as in these examples or it can be a bit more general, like

'two years later', 'five hours later', or 'at breakfast'.22

Discourse time

Secondly there is 'discourse time', the time it takes to tell the story. This is the time it takes to read

the book, see the movie, play the game or be told the story. A book can take days to read, a movie

only a few hours to see, a game weeks to play, while a narrator could have told the same narrative in

just a few minutes. Discourse time is not related to the time the story takes in the fictional world.

For literature, the discourse time is represented in the amount of pages or words. Texts can have

very different sizes, they can be a few lines, a page, but also 600 pages or even multiple volumes.

Historical time

Then there is the time in which the story takes place. Van Boven and Dorleijn call this “historische

tijd”, which means 'historical time'.23 This can be the Middle Ages, 'once upon a time' or some time

in the (distant) future. The historical time can be specified or left unspecified. The text might say:

“Spring 1521” in the middle of the narrative, or as a chapter title to specify the setting. But it is also

possible that the reader has to find out when the story is taking place by herself. Descriptions of the

environment, clothes, culture, give the reader clues when and where the characters are. Historical

time is most commonly found in stories where the setting is important. Apart from the setting, the

historical time in which the story takes place can also influence the space/backdrop in which the

narrative takes place and the morals of a narrative.

Time between happening and telling

A certain amount of time elapses between the moment the story took place and the moment it is

being told. It might be the case that the story took place ages ago though the setting is the present,

or that it is taking place at the exact same time in another universe. If the story is told at the moment

it is happening it is called 'vision avec'. When we hear the story after it has happened, Van Boven

and Dorleijn call it 'vision par derrière'. They write, that by looking at the specific conjugation of a 22 Boven, van and Dorleijn 1999, pp. 255-26023 Ibid, p. 239

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verb, you know the amount of time between the story and the telling of the story.24 When verbs are

in the simple present (He works every day) or present continuous (We are waiting for you) they

express that the moment of acting and the moment of telling are (partially) at the same time. When

verbs are in the simple past (I worked in the city) or past continuous (She was dancing with him),

the acting is before the telling. Narrative texts use a lot of past tenses to give us the fairy tale

feeling. When a text uses the past perfect (I had forgotten) or past perfect continuous (He had been

raised there), this means that within the story the past is remembered.

Internal time

Elkins discusses another type of time, the internal time, the time you think has passed in the real

world.25 This is also called subjective time. Subjective time may be experienced the same as the

discourse time, but it can also seem like almost no time has gone by. Or, if someone is feeling bored

by the story being told, it can feel like hours, maybe even days, of their life have passed, while only

minutes have passed.

2.3 Manipulations of timeThere are multiple ways to manipulate time. Narrative time can be kept at a normal pace (real-time),

slowed down, or sped up. Fictional time, 'story time', can even be paused completely. Flashbacks,

flash-forwards and simultaneity are also time manipulations. An event that has already passed is a

flashback, while going forward in time is called a flash-forward. When events happen in parallel but

are told sequentially, it is called 'simultaneity' in literature. Literature is linear. You start at the

beginning of the text and work your way to the end. “In tegenstelling to verschillende andere

kunstvormen – architectuur, beeldende kunst – is een geschreven taaltekst lineair.”26 Because of this

linearity, writers can use flashbacks, flash-forwards and simultaneity to give the reader information

the characters themselves do not know yet, or they can abstain information from him. This way they

can create expectations, suspense, and comical situations.27 In the next section I will discuss the

speed of telling, pauses, flashbacks, flash-forwards and simultaneity.

24 Ibid, pp. 266-26725 Elkins, p. 1026 Bal 1990, p. 63 – Opposed to various other art forms - architecture, visual arts - a written linguistic text is linear. 27 Boven, van and Dorleijn 1999, pp. 260-266

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Speeding up or slowing down

Since there is a difference between discourse time and story time you can manipulate the speed of

the story with these. First of all there is the normal pace. This happens when the time it takes to tell

the story is just as long as the time the events take. This is called 'Deckung'. Then there are basically

two ways to manipulate the speed of time: speeding up or slowing down. When discourse time is

longer than story time, you get a story where events happen slowly. A minute in the fictional world

takes minutes or pages to unravel. This is called a deceleration, 'Dehnung'. On the other hand, if

discourse time is shorter than story time, the reader will read something like: “The next two years

she lived happily.” This gives all the information we need about two years of someone's life in one

sentence. Speeding up the story is called 'Raffung', acceleration.

Pauses

Time can also stop completely. These moments where time doesn't pass are called pauses. Van

Boven and Dorleijn talk about texts where no events are being told and there is no indication of

passing story time.28 The telling of the story is being stopped for a moment to describe characters or

spaces. Strictly, these pauses are not part of the story, but they are part of the narrative text.

Descriptions can be found in large amounts in historical novels, where lots of information about the

setting needs to be conveyed to the reader. An example of a pause can be found in The DaVinci

Code. The narrator tells the reader about the location without time passing by.

“The new entrance to the Paris Louvre had become almost as famous as the museum itself. The controversial, neomodern glass pyramid designed by Chinese-born American architect I.M. Pei still evoked scorn from traditionalists who felt it destroyed the dignity of the Renaissance courtyard. Goethe had described architecture as frozen music, and Pei's critics described this pyramid as fingernails on a chalkboard. Progressive admirers, though, hailed Pei's seventy-one-foot-tall transparent pyramid as a dazzling synergy of ancient structure and modern method - a symbolic link between the old and new- helping usher the Louvre into the next millennium.”29

Not every description is a pause. It is possible that the timeline is not interrupted to describe

something. If a character is the one observing the space and we view it from his/her perspective,

time goes by, since the character takes time to look around. In The Unfortunate Miss Fortunes a

man walks into the magic workshop of a woman who is still learning the craft (witchcraft). Here we

28 Ibid, p. 25229 Brown 2004, pp. 35-36

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see the space from his view, and since he is inspecting the room while we read, time is going by in

the story world.

“The workshop itself was messier than he'd expected – maybe she'd conjured her shoes out of any of the strange artifacts littering the old sun porch. The room was dark – sunlight filtered through the bamboo shades with a sullen glint, and the long workbench was scarred with spilled chemicals and gouged by who knew what. A bale of straw sat on the floor, half decimated, with bits of straw everywhere, as if a giant mouse had gotten into it. Either that, or the Scarecrow had met with the flying monkeys.”30

Flashbacks

A flashback, also called analepsis, is when the current timeline is being interrupted to tell about an

event that has already passed. Van Boven and Dorleijn talk about the Aeneis of Vergil.

“Het sujet bevat de volgende reeks gebeurtenissen: A Aeneas en de zijnen verkeren in een hevige storm op zee; B ze belanden in Carthago bij Dido; C Aeneas vertelt aan Dido over zijn lotgevallen; D de strijd om Troje; E de ondergang van Troje; F de vlucht uit Troje; G de tochten over zee; H er ontstaat een romance tussen Dido en Aeneas; I Aeneas moet Dido verlaten om in Italië Rome te gaan stichten; J t/m Z al zijn verdere avonturen tot de stichting van Rome. Het verhaal begint dus midden in de handeling (A B C), vervolgens wordt chronologisch verteld wat er aan de zeereis voorafging (D t/m G), waarna de chronologische presentatie wordt vervolgd (H t/m Z). De fabel ziet er dus als volgt uit: D E F G A B C H I J t/m Z.”31

Translation: “The discourse contains the following events: A Aeneas and his crew are in a heavy storm at sea; B They get to Carthage where Dido is; C Aeneas tells Dido what happened; D The battle for Troy; E The fall of Troy; F The escape from Troy; G The overseas voyages; H The romance between Dido and Aeneas; I Aeneas leaves Dido to found Rome in Italy; J to Z are his advertures that lead to the foundation of Rome. The story starts in the middle (A B C), tells chronologically what happened before the voyage (D till G), after which the chronological presentation is continued (H till Z). The story looks like this: D E F G A B C H I J till Z”

In this discourse the DEFG part is a flashback. Aeneas looks back on the events that led up to that

moment. In the chronological order of events these happened before the other events.

30 Crusie, Dreyer and Stuart 2007, p. 9831 Boven, van and Dorleijn 1999, p. 242

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Flash-forwards

When the viewer sees an event that is in the future, something that still is to come, we call it a flash-

forward, a prolepsis. In Rendez Vous a couple is moving to France. At different points in the story

the reader gets to read a flash-forward into the future when the main character is in jail.

“‘Ik wil mijn man bellen’, zeg ik. Laat me alsjeblieft mijn man bellen. Eric moet dodelijk ongerust zijn. Hij heeft me vanochtend afgevoerd zien worden. Geboeid over de binnenplaats, geflankeerd door twee gewapende agenten. Terwijl de politieauto naar het pad hobbelde en ik in de achterruit een wanhopige blik op Eric wierp, die alleen achterbleef op de binnenplaats, zag ik de verbijstering over zijn gezicht trekken. Goddank liggen Isabelle en Bastian nog in bed. ‘Dat gaat niet’, reageert hij. ‘U mag drie dagen geen contact hebben met de buitenwereld. Dat zijn de regels’”32

The reader does not read the part where she is arrested and why she is arrested till the final end of

the book.

Flash-forwards are not very common in literature.33 In this book the flash-forwards help the

narrative. Because of the fact the reader knows that something will go wrong in the future, suspense

is being build up.

Simultaneity

Simultaneity is used mostly when two events happen at different places at the same time which are

both important for the narrative, or to view the same event from two different points of view. While

an event is happening at one place in time, other important things might happen in other places at

the same moment. We see those events at another moment in the discourse. However it could also

be that we see the same event twice, from different perspectives, which gives us different

information. Keywords in text would be 'meanwhile' or 'at the same time'.

In The Hitchhiker's Guide to the Galaxy the main character sees Earth getting destroyed in

the first few chapters of the book. Chapter 4 opens with these words:

“Far away on the opposite spiral arm of the Galaxy, five hundred thousand light years from the star Sol, Zaphod Beeblebrox, President of the Imperial Galactic Government, sped across the seas of Damogran, his ion-drive delta boat winking and flashing in the Damogran sun.”34

32 Verhoef 2006, p. 26; In this quote a female asks if she can call her husband after she has suddenly been arrested and brought to jail. He does not know why she was arrested and must be worried and confused. She learns however that she is not allowed to speak to anyone for the first three days in jail.

33 Herman, Jahn and Ryan 2008, pp. 591-59234 Adams 2006, p. 39

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While the earth is being destroyed Beeblebrox is in another part of the galaxy. Here there is

simultaneity, two events at the same time at different places.

Though most of these time manipulations also exist in games, they are represented in

different ways. In the next chapter I will show how time is represented in games.

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Chapter 3: Use of time in games in comparison to literature

Time as a narratological element is always used in some way or another in games. There are

however differences between time usage in literary fiction and games. In this chapter I will discuss

these differences. Section 3.1 deals with time representation in games in general, while section 3.2

deals with specific time manipulations like loading screens, pauses and simultaneity. The

differences and similarities with literary fiction are discussed in section 3.3.

3.1 Time in gamesStory and discourse

A story is the chronological order of the events, and the sequence told is the discourse. In a game

however, this gets a little bit more complicated. A narrative is, at least partially, made by the gamer.

The order she decides to play quests in, changes the story and the discourse. “Instead of fixed, linear

sequences of text, image, or sound which remain unchanged when examined multiple times, a video

game experience can vary widely from one playing to another.”35 This means that there is no

standard story, the story and discourse will be dependant on the playing. In progression games36 the

story might stay almost the same but the discourse of the events will differ from play to play.

However, the choices the gamer has at any specific moment in the narrative are limited, so the

discourse is not in any danger of changing so much that it would change the narrative.

The story time is the amount of time the story takes in the fictional world. The discourse

time is the amount of time the story takes to tell. Juul calls story time 'fictional time', the time of

events in the game world, and discourse time 'play time', the time the gamer takes to play the game

from the beginning to the end.37 Play time is longer then other discourse times. Wolf explains this:

“More time is also needed to experience a video game. Whereas movies are generally no more than a few hours in length, video games […] can average forty or more hours to complete, not including all the possible endings they may contain.”38

In most games time goes on even when the gamer does nothing. You can see clocks ticking away

time, people moving or the game can even ask for input from the gamer. This makes the gamer

more aware of the story time going by then for instance in a book.

35 Wolf 2001, p. 736 Progression games are games where the events are (partially) sequentially. A certain event can only take place after

another is finished. This means the gamer only has a limited amount of choices what to do. Games with narratives are progression games since the events have to happen in a certain order to make the narrative.

37 Juul 2005, p. 14238 Wolf 2001, p. 7

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“With the added potential for interaction, in which the movement or stasis of the on-screen imagery is often partly a player's choice (unlike film), time is experienced more actively than in the viewing of film, which runs independently of the viewer. Even when a player does not do anything in a game, the computer continues to check for input, and events in the world of the game continue, often with something happening to the player-character if it stays in one place too long.”39

Because of an action a gamer takes in real time, like move the mouse, an action in the game world

happens. So the fictional time and the real time are linked through this action. Juul explains that the

gamers actions and time are 'projected' on the fictional world. This gives the gamer the idea the

narrative is happening now.40

“In most action games and in the traditional arcade game, the play time-fictional time relation is presented as being 1:1. In such real-time games, pressing the fire key or moving the mouse immediately affects the game world. Therefore, the game presents a parallel world, happening in real time.”41

Illustration 3.1: The gamer plays a day in the Playstation2 HARRY POTTER AND THE PRISONER OF AZKABAN game. When she ends this day a cut-scene is used to jump forward in time.

In the Playstation2 HARRY POTTER AND THE PRISONER OF AZKABAN the gamer plays a day and at some

point she can end that day. She then jumps forward in time with a cut-scene (which will be

discussed later on) after which the gamer can play another day. In other games the time that passes

39 Ibid, p. 7940 Juul 2005, p. 14341 Ibid, pp. 142-143

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may differ. Time can be speeded up where years pass in fictional time while only seconds pass in

real time.

Historical time

A game can take place in any time period. The historical time can be made clear by specific text like

a date, or can be left to graphical representations. ASSASSIN'S CREED is situated in the Middle Ages in

the Middle East during the crusades. The clothing, architecture and weapons show this in

illustration 3.2.

Illustration 3.2: The clothing, architecture and weapons show the historical time in ASSASSIN'S CREED.

Passing time

There are many ways a gamer can notice that time is passing by. Some might be diegetic, like

minutes (or years) ticking by on some kind of time indicator, or there can be text spoken or written

explaining the time going by. Or the gamer could see the world changing in mimetic ways. For

example in the Playstation2 HARRY POTTER AND THE PRISONER OF AZKABAN game the narrator says

“Winter came to Hogwarts: the sky lightened to a dazzling, opaline white and the muddy grounds

were hidden beneath a blanket of soft snow. Inside the castle, there was a buzz of Christmas in the

air, marred only by worries over Professor Snape's imminent Potions class.”42 After this moment

when the gamer goes outside the grounds are actually white with snow.

42 HARRY POTTER AND THE PRISONER OF AZKABAN (PLAYSTATION2), 2004

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Illustration 3.3: The grounds are white after the narrator has told the gamer that it is now winter.

Clocks or counters can have a second type of function: time pressure. “[...] many games [...] also

have ticking clocks or time counters of some kind to further accentuate the feeling of time

pressure.”43 In the Playstation2 game a timer is used to give the feeling of time pressure when Harry

and Hermione only have a restricted amount of time to rescue Sirius Black from the tower before he

gets kissed by the Dementors.

Illustration 3.4: A timer is used to create pressure when the gamer has only 2 minutes to get to Sirius before the Dementors kiss him.

43 Wolf 2001, p. 88

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3.2 Time manipulations in gamesGames use a lot of time manipulations, there are loading screens, pause- or fast forward-buttons, but

also cut-scenes and end credits. Other manipulations might be impossible, or hard to achieve, like

flashbacks, flash-forwards and simultaneity. In this section time manipulations are explained.

Speeding up or slowing down

Just as in literature time can be sped up in games. This can be done with a cut-scene, a short movie

where a narrator explains what happens. Another possibility is that time just moves faster, most of

the time this can be done with a fast forward button. Slowing down time can be done too, but this

does not occur very often. Most of the time when the speed needs to be slow, the normal speed will

just be slow too.

Rewinding time is not often done, however when it is done, there are different ways to

achieve this. For instance some games may let you undo your last action. Often this applies only to

your last action, otherwise you could use it every time something goes wrong. When this reverse

exists there is a rule that if the action already triggered a reaction, the action cannot be undone.

Most of the time however, reversing time will happen because the gamer fails a quest. The quest

then restarts so the gamer can try again. In some games you can try an infinite times, in other games

you have a certain amount of 'lives', if you have gone through all your lives you die.

Pauses

Lots of games have possibilities to pause the game. Most games even recommend in their game

guide to pause 10 to 15 minutes every hour while playing their game. Games let the gamer know

when the game is paused. “Because the grain pattern that makes up the screen is unchanging, many

video games visually alter the screen to allow the gamer to distinguish between a “paused” game

and one which is running with no action on screen (for example, some darken the screen, or display

a “paused” sign).”44

Juul proposes: “Since play time is projected onto fictional time, pausing the play time should

logically also pause the fictional time and hence the fictional world.”45 However loads of games

violate this rule, mostly by sound. Music and sounds keep playing when the game is paused. There

is another, even bigger violation, for instance in games like THE SIMS (all editions). The gamer can

pause the time but still keep on playing, by 'telling' the characters what they should do after the 44 Ibid, p. 7945 Juul 2005, p. 151

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game is unfrozen again. This is a common violation in strategy games. As far as I know this is not

possible in progression games.

Something you could also consider as pauses are loading screens. Jesper Juul describes it as

follows: “When the game needs to load new data, this is indicated by the word “loading”. This

creates a continuous fictional time, but disconnects play time.”46 Time stops in the fictional world to

wait till the loading is finished while time in the real world (play time) continues.

Flashbacks and flash-forwards

In a game flashbacks would mean going back in history and solving a quest there, before returning

to the 'current' time for instance. A flash-forward would mean we would go forward in time to play

something further in the future before playing the rest of the game. Both are usually seen as

impossible, because of continuation-issues.

Jesper Juul postulates that in a game there cannot be a difference between fictional time,

playtime and historical time when playing while there needs to be a difference between them to

narrate.

“In an “interactive story” game where the user watches video clips and occasionally makes choices, [those times] will move apart, but when the user can act, they must necessarily implode: it is impossible to influence something that has already happened. This means that you cannot have interactivity and narration at the same time. And this means in practice that games almost never perform basic narrative operations like flashback and flash forward. Games are almost always chronological.”47

He does mention that game developers recently started to use not only cut-scenes but also objects in

the game world to point to past events.

Juul explains that “[...] an interactive flashback can render the present impossible if the

player fails to complete a task”48 However a lot of games let gamers only continue when the current

quest is solved. If they would fail the quest, it would just start over again. Therefore flashback

quests should not be a problem. In the end the gamer would not fail, so the present would stay the

same.

Flash-forwards are very improbable, because this would make everything the gamer does in

the present seem worthless, which is a greater problem then past events.

46 Ibid, p. 14847 Juul 200148 Juul 2005, p. 160

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Simultaneity

I have found no mentions of simultaneity in games in the literature I read. From my own gaming

experience I know you cannot be in two places at same time when playing a game. However there

are ways around that, for instance in strategy games you can give characters multiple tasks to do,

which they will do one after the other. You can then go to another place and do actions there. For

genres like first-person shooters or role-playing games, this is not possible since you are the

character in the game, and in the real world you cannot be at two places at once either.

Other time manipulations

There are many other ways time or time manipulations are used in games. I will mention some

important ones here, first of all saving games. In more and more games the gamer can save the

game. This means that if she fails a quest or if she dies, she can reload a game and be back at a

point in time things were looking good. She can then try again. She can also just save the game to

stop playing and return at a later time.

Cut-scenes are a different way of stopping the game temporarily, though they are not pauses.

Time in the fictional world may continue as we learn about what happens next, or what our next

objective is. “Cut-scenes depict events in the event time (in the game world). Cut-scenes are not

parallel time or an extra level, but a different way of projecting the fictional time.”49 The gamer

cannot act while a cut-scene is going on.

Repetition of actions can be very important in games in multiple ways. For instance

repetition is used to advance gamers in the game.

“Learning the patterns of behavior and working around them is usually itself part of the game, allowing a player to advance to higher levels once the pattern is recognized and mastered. […] Often a game's levels will be almost impossible to complete the first time through, since they may require a player to know in advance an exact series of actions that will get him or her through a level. Repetition, then, becomes a form of training, and each time through the level becomes a slightly (or even substantially) different experience for the player.”50

In some games the gamer also has to repeat easier tasks time after time to advance in the game.

Gamers call this dead time. “Dead time is when you have to perform unchallenging activities for the

sake of a higher goal.”51

49 Ibid, p. 14550 Wolf 2001, p. 8151 Juul 2005, p. 155

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3.3 Similarities and differences in the representation of time between books and gamesBooks and games have similarities and differences in time representations. Some elements are

completely the same in both media, sometimes though there are small differences. And then there

are a few major differences between them like cut-scenes and flash-forwards.

In literature both the story and the discourse are set. They cannot change from one reading to

the next reading. In a game the story will stay (almost) the same when the gamer plays the game

multiple times while the discourse can differ completely. Both games and books have story time and

discourse time, however in games these can also be called fictional time and play time respectively.

And in games an action in real time starts an action in fictional time. This does not exist in books.

Both games and books can let the gamer/reader know how much time has passed, either by

using marked or diffuse time. In books these representations will all be diegetic. In a game both

diegetic and mimetic time descriptions can occur. These might even happen at the same moment to

underline the fact that time is passing by. Time can be slowed down or speeded up in both games

and books. In literature, it is the writer that decides the speed of the narrative, in games this decision

is made by the gamer.

In literary fiction pauses are used to describe settings. The fictional time stops moving, but

the reader does not stop reading. When a game is paused the gamer cannot keep playing. In most

games this is prohibited. This is a big problem for interactive storytelling:

“Another element that simply can't be included in interactive storytelling is real-time play. This rule is a natural result of Lesson #12, which posits that a storyworld is composed of closely balanced decisions that could reasonably go either way. These decisions require thought from players; they cannot be made in a split second. If the story just keeps moving along in real time, however, players might have lost the opportunity to choose by the time they make up their minds. Therefore, the storyworld must come to a halt whenever it presents a decision to the player.”52

Crawford says that if you want interactive storytelling the gamer must be allowed to pause the game

and still be able to do an action.

An other completely new element in games is a cut-scene. This is like a movie clip in the

game where the narrative usually advances. The fictional time keeps going but the gamer cannot

react.

52 Crawford 2005, p. 62

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“The experience of passing of time is always a subjective one, dependent on what a person is doing; an hour in the dentist's chair during a root canal may seem subjectively much longer than an hour spent with a loved one on a holiday. Cinematic techniques attempt to simulate these effects by changing the pacing of scenes and by what they choose to show or leave out.”53

Somehow when a gamer is playing, time seems to pass quicker then when she is watching a cut-

scene. Gamers can not adjust the speed of a cut-scene, therefore most cut-scenes are short and to the

point. However there are still big differences in the length of the cut-scenes and the amount of them

between games.

The biggest difference between time in books and games is the fact that, according to Jesper

Juul, games can not have flash-forwards, because these would make everything the gamer is doing

in the game obsolete. I do not agree with him. Cut-scene flash-forwards could be used to see where

a gamer is heading. In a game like FABLE: THE LOST CHAPTERS, where the gamer can choose her own

path, there could be flash-forwards showing the direction she was heading in. This would mean that

the gamer gets to choose if she wants to go forward on that path or change the outcome of the

future. Since there are only a limited amount of options in the game this is certainly doable.

Flashbacks, on the other hand, are possible according to Juul, if they are not interactive. In

most games flashbacks are therefore only shown in cut-scenes where they can be controlled. The

gamer can not be allowed to change the past in a way that would affect the current time. Juul says

that it can not be done - but I doubt if he is right.54 I will get back to that in chapter 6.

There is not much known about simultaneity in games. Simultaneity can be done in strategy

games but not in first-person shooters. This would suggest that simultaneity can not exist in games

with a narrative. I will get back to this later on as well.

53 Wolf 2001, p. 8554 Juul 2005, pp. 147-148

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Chapter 4: The representation of time in Harry Potter and the Prisoner of Azkaban

4.1 IntroductionIn this chapter I will describe the representation of time in Harry Potter and the Prisoner of

Azkaban, specifically the Time-Turner scene in the three different media. In the Time-Turner scene

Harry, Hermione and Ron learn that not Sirius Black but Peter Pettigrew is the real traitor of Harry's

parents, just after the hippogryph Buckbeak is executed. They want to turn Pettigrew in, but he

escapes and, while chasing him, Sirius Black and Harry get surrounded by Dementors. Someone

saves them. However Sirius Black is scheduled to be executed by the Dementors soon. No one will

believe Harry, Ron and Hermione that Sirius Black did not commit the crime. Dumbledore asks

Hermione for a bit more time, after which she pulls out the Time-Turner. Harry and Hermione go

back in time to save both Buckbeak and Sirius Black from their awful fates.

I chose this scene because this is a very important scene in the narrative. Harry and

Hermione have to go back in time to change the future, but their 'previous' selves are around too.

They can not be seen by anyone, for that might risk the whole future. It is also a scene where

different kinds of time manipulation exist, especially when they go back in time.

In this chapter I will describe the time representation and the order of events for the different

media. In the next chapter I will analyze these descriptions and compare them to each other. I want

to analyze how the book and the two games represent this time traveling.

4.2 The Book Harry Potter and the Prisoner of AzkabanThe exams on Hogwarts have just finished when the Time-Turner scene starts in the book Harry

Potter and the Prisoner of Azkaban. Hagrid has send a letter telling Harry, Hermione and Ron that

Buckbeak will be executed at sunset. They sneak out to go see Hagrid. They are inside the cabin

when Hermione sees Scabbers.55 A moment later the party for the execution is coming to Hagrid and

the trio has to sneak out. They are trying to get away so they don't hear the execution. “There was a

jumble of indistinct male voices, a silence and then, without warning, the unmistakeable swish and

thud of an axe. Hermione swayed on the spot. 'They did it!' she whispered to Harry. 'I d-don't

believe it – they did it!'”56

55 Scabbers is Rons pet. He is a rat. 56 Rowling 1999, p. 357

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Scabbers escapes from Ron's hands and he runs after him. Harry and Hermione follow Ron.

Ron has just gotten hold of Scabbers, when a dog attacks them. Ron is on his feet, but thinks the

dog is after Harry and pushes Harry aside. Ron gets dragged away by the dog that is holding on to

his arm, he breaks his leg in the process. The dog pulls Ron in a hole. Harry and Hermione see that

they are standing near the Whomping Willow, the hole is near the trunk. They run through a tunnel.

They end up in an old abandoned house, where they run upstairs and find Ron and to their surprise

Sirius is there. (He turned from the dog into a man)

Black is trying to tell them he won't hurt them, when Professor Lupin walks in and greets

Sirius like an old friend. Hermione, Ron and Harry think they are working together to kill Harry, but

then they explain it is the rat they are after.

“'What?' Ron said again, holding Scabbers close to him, looking scared. 'What's my rat got to do with anything?' 'That's not a rat,' croaked Sirius Black suddenly. 'What d'you mean – of course he's a rat -' 'No, he's not,' said Lupin quietly. 'He's a wizard.' 'An Animagus,' said Black, 'by the name of Peter Pettigrew.'”57

Sirius and Lupin explain the whole story. Halfway Professor Snape walks in and wants to kill both

Sirius and Lupin. Harry, Hermione and Ron stop him, so the two men can tell the rest of the story.

Then they show they have been telling the truth by making Scabbers reveal himself.

“It was like watching a speeded-up film of a growing tree. A head was shooting upwards from the ground; limbs were sprouting; next moment, a man was standing where Scabbers had been, cringing and wringing his hands.”58

Sirius wants to kill Peter Pettigrew, because he has been in Azkaban Prison for years because of

Peter, while Peter was the one that betrayed Harry's parents. However Harry steps in, “'We'll take

him up to the castle. We'll hand him over to the Dementors. He can go to Azkaban … just don't kill

him.'”59

The whole group is going back to the castle. They are walking over the grass away from the

Whomping Willow when something happens. Professor Lupin, who turns out to be a werewolf,

changes because of the full moon. Sirius turns himself into a dog to make sure Lupin stays away

from the trio. While they are distracted Peter turns himself into Scabbers again and escapes. A bit

later they hear a man scream. Sirius is being attacked by Dementors. Harry tries to fight off the

Dementors, but cannot make a strong enough Patronus to drive them away. He keeps hearing his

57 Ibid, p. 37558 Ibid, pp. 394-39559 Ibid, p. 404

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parents' last words. After a while a Dementor gets really close. He tries to perform the Dementor's

kiss, which sucks out your soul, on Harry. Someone saves them with a Patronus spell, a very

powerful Patronus spell that drives all the Dementors away. Harry thinks it is his father, just before

he faints.

Snape brings them all back to the castle, but since he still thinks Sirius is the bad guy the

Dementors are called. When Hermione and Harry wake up, they try to explain what happened but

Dumbledore tells them they won't be believed. They will all believe Professor Snape. “'What we

need,' said Dumbledore slowly, and his light-blue eyes moved from Harry to Hermione, 'is more

time.'”60 Hermione explains to Harry she has had a Time-Turner all year to be able to go back in

time and go to multiple classes. They can use it to go back in time and save Sirius. Dumbledore

says to them: “'I am going to lock you in. It is -'he consulted his watch, 'five minutes to midnight.

Miss Granger, three turns should do it. Good luck.'”61

Hermione takes her Time-Turner and puts the necklace around Harry and her own neck. She

turns the clock three times and everything goes blurry for a while. Harry is still a bit confused.

“'What – how – Hermione, what happened?' 'We've gone back in time,' Hermione whispered, lifting the chain off Harry's neck in the darkness. 'Three hours back …' […] 'Footsteps across the hall … yes, I think it's us going down to Hagrid's!' 'Are you telling me,' Harry whispered, 'that we're here in this cupboard and we're out there, too?'”62

They figure out that they need to save Buckbeak as well and go to Hagrid's hut. They hide there and

see their old selves walking to Hagrid. Later they see the party descending from the castle and know

their old selves will have to come out of the hut.

“'We're about to come out!' Hermione breathed. And sure enough, moments later, Hagrid's back door opened, and Harry saw himself, Ron and Hermione walking out of it with Hagrid. It was, without a doubt, the strangest sensation of his life, standing behind the tree, and watching himself in the pumpkin patch.”63

They save Buckbeak after the execution party has gone in. They take him into the woods.

“'We'll have to hide in here,' said Hermione, who looked very shaken. 'We need to wait until they've gone back to the castle. Then we wait until it's safe to fly Buckbeak up to Sirius' window. He won't be there for another couple of hours ...oh, this is going to be difficult …' She looked nervously over her shoulder into the depths of the Forest. The sun

60 Ibid, p. 42361 Ibid, p. 42462 Ibid, p. 42563 Ibid, p. 430

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was setting now. 'We're going to have to move,' said Harry, thinking hard. 'We've got to be able to see the Whomping Willow, or we won't know what's going on.'”64

They watch and see the events unfold (again). They find it hard to not get involved knowing the

outcome of the evening. They want to take Scabbers so he can't run away again or take the

Invisibility Cloak so Snape can't walk in to the old house without them knowing. Hermione keeps

repeating they cannot interfere. After a very long wait the whole party comes out of the tunnel

underneath the Whomping Willow again.

“'There goes Lupin,' Hermione whispered. 'He's transforming -' 'Hermione!' said Harry suddenly.

'We've got to move!' 'We musn't, I keep telling you -' 'Not to interfere! But Lupin's going to run into

the Forest, right at us!'”65 They run to Hagrid's hut, which is now empty. However Harry goes out

again to see what is happening, and to see who rescues them from the Dementors. He thinks it is his

father.

While the Dementors attack him, he waits for his father to appear. “And then it hit him – he

understood. He hadn't seen his father – he had seen himself -”66 He conjures up a Patronus and

drives away all the Dementors. They hide in the forest and see Snape take them all to the castle

again. After that it's time to go rescue Sirius from the Dementors kiss. They fly up to the tower and

free Sirius. Sirius flies away on Buckbeak after thanking them. Harry and Hermione run back to the

hospital wing and Dumbledore.

“Dumbledore looked up, and a wide smile appeared under the long silver moustache. 'Well?' he said quietly. 'We did it!' said Harry breathlessly. 'Sirius has gone, on Buckbeak …' 'Well done. I think -' he listened intently for any sound within the hospital wing. 'Yes, I think you've gone, too. Get inside – I'll lock you in -'”67

4.3 The PC game Harry Potter and the Prisoner of AzkabanThe Time-Turner scene in the PC game starts suddenly, after you have been to one of your classes

and learned your last spell, with a short cut-scene: Harry, Hermione and Ron go to Hagrid to hear

the outcome of the trial for Buckbeak. They do not know yet that Buckbeak will be executed. The

gamer can notice it is almost sunset by seeing the light from the setting sun come from behind the

trees. When the trio is almost there they hear a bang and know Buckbeak is executed. Ron sees

Scabbers and chases him. It is darker outside now, the sunlight is almost gone. Harry and Hermione

64 Ibid, p. 43465 Ibid, p. 44066 Ibid, p. 44267 Ibid, p. 450

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run after Ron, but a dog attacks him and drags him into the tree. The tree hits Harry and Hermione

once, but then they walk in without any more trouble.

The gamer then sees a black screen, followed by a loading screen. Harry and Hermione are

in a tunnel. The gamer is reminded that they need to save Ron and then the gamer can play again

(being either Hermione or Harry). There is no indication of time here what so ever. You could be

playing for hours on end in the tunnel, while Ron is in danger, but that wouldn't mean Ron would

get killed if you take too long. For the narrative it does not matter how long you take in the tunnel.

The gamer needs to kill some skeletons, salamanders and overcome other obstacles. At some point

Hermione and Harry get split up and you do a quest with either one before reuniting. These gaming

parts take a long time, without being very difficult quests. There are possibilities to save the game

every few minutes. Harry walks into a book, which make the game save itself (while the screen

freezes for a bit). There are also multiple points during this part with a loading screen.

When Harry and Hermione are at the end of the tunnel there is another cut-scene. They walk

up the stairs of an old house and we see Ron sitting with Scabbers in his hands. Harry:“Where's the

dog?” Ron: “It's not a dog...”68 Then the gamer has a shot from Ron's viewpoint. We see Harry and

Hermione and we hear growling. Then we see the dog, which turns into Sirius Black. Professor

Lupin immediately appears too. “There is no need to be afraid! Sirius Black is not what you think

he is. And Scabbers – he's not a rat... he's a wizard by the name of Peter Pettigrew!” While this last

sentence is being said Scabbers escapes from Ron's hands. Ron: “What?” Lupin: “Watch...”

Professor Lupin casts a spell and we see Scabbers turn into a man, saying: “I can explain.” Lupin:

“Pettigrew's an Animagus... It wasn't Sirius Black who betrayed your parents, Harry. It was

Pettigrew.”

After this revelation we see a black screen again followed by a loading screen. The cut-scene

continues and we hear the narrator speak, while we see the Whomping Willow move in the dark and

then the party walking back to the castle. “Peter Pettigrew had not only betrayed James and Lily

Potter to Voldemort, he had also framed Sirius Black as Voldemort's spy. It was agreed that

Pettigrew would be taken back to Hogwarts and turned over to Professor Dumbledore.” At the end

of this sentence the camera pans up to the sky, completely dark, and then a cloud moves and reveals

the moon behind it.

68 HARRY POTTER AND THE PRISONER OF AZKABAN (PC), 2004 – The next references are all from this game too.

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Illustration 4.1: The moon shines through clouds in the PC HARRY POTTER AND THE PRISONER OF AZKABAN game.

“But there was one more secret to be revealed that night...” When that sentence is done we see

Professor Lupin, who is shivering and then turns into a werewolf. Sirius yells “Leave it to me!

Run!” after which he turns into a dog and attacks Lupin. We see a shot of Harry and Hermione and

during that shot we see a flash and hear Hermione yelling. The camera turns to Ron and Pettigrew.

Ron is unconscious and Pettigrew is turning into Scabbers again. Scabbers escapes. Harry looks at

the full moon in the sky and says: “Professor Lupin is a … werewolf?” We then hear a dog bark and

Hermione yells: “Go and help Sirius! I'll take care of Ron.” Harry runs away into the dark.

After another black screen and a loading screen we see Dementors attacking Sirius. The

gamer gets control over the game again and needs to cast the spell 'Expecto Patronum' against the

Dementors. Timing is everything here, because you have to cast when the glowing ring is more then

halfway up your wand. (Luckily one of the tips you get during the loading screens is “When casting

expecto patronum, remember to hold your cast (LEFT mouse button) until the ring of light is more

than halfway up the wand”) There are lots of Dementors so the gamer has to be quick and time the

casts well. When the first wave of Dementors explodes you have to do it once more and after those

are gone as well, the gamer sees another cut-scene.

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Illustration 4.2: Timing is important in killing the Dementors in the PC game. Only when the gamer lets go of the mouse button at the right moment she casts a spell.

The Dementors explode, but when Harry turns around there is a Dementor behind them that gets a

hold of Harry. He almost gets kissed by the Dementor. The gamer hears the narrator say: “For a

brief moment, Harry thought he saw someone trying to help him.” while she sees a light coming

through the group of Dementors. “Was it... his father? But, no, it couldn't be...”

Illustration 4.3: While the text lets the gamer know that Harry sees something, the gamer can see it herself as well. In the middle of the illustration she sees a white sparkle and next to it, someone is visible.

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The screen goes white and then we hear Hermione ask Harry: “Harry, are you all right?”, Harry

wakes up and gets off the bed, while asking if Sirius is OK and where Ron is. Hermione lets Harry

know that Ron is alright. Then Dumbledore enters and walks up to Harry and Hermione:

“Unfortunately, Sirius Black is not faring so well. He's locked in a high tower. He'll be handed over to the Dementors soon. There's nothing I can do to stop it.” Hermione: “But he's innocent!” Dumbledore: “I believe that's true. What we need... is more time.” Hermione: “But – OH! The Time-Turner...” Harry: “Time-turner?” Dumbledore: “More then one innocent life could be saved tonight.”

During every part of the conversation the camera turns to the one that is talking. The camera turns

back to Harry and Hermione.

Hermione: “I meant to tell you... eventually. Professor McGonagall let me borrow this Time-Turner. I've been using it all year to go back in time so I could attend extra lessons.”

Harry: “That explains a lot! We could use it to go and save Buckbeak... ...and then fly him up to the tower to rescue Sirius! But we must take care not to be seen by our earlier selves.”

(While Harry talks the camera moves over to the window through which you can see the tower

where Sirius is held captive.)

There is a loading screen. After which we see a short cut-scene. We see a fortress and then

some light and suddenly Harry and Hermione appear. Hermione: “They've got Buckbeak in there

somewhere.” Harry: “It's awfully quiet. You're sure you set the Time-Turner back the right

amount?” The gamer gets control over the game again. You have to free Buckbeak by getting

upstairs. This is sort of a puzzle where you have to do all kinds of spells and tricks to get up to the

tower where Buckbeak is. When you get there another short cut-scene starts. Harry and Hermione

open the cage with a Alohamora spell and then they fly away on Buckbeak's back, while the moon

is high in the sky.

After another loading screen we see the moon reflected in the water, we hear Buckbeak and

then we see Buckbeak and Harry and Hermione at the lake. Harry: “Wait here, Hermione. I'll go and

see if it's time to rescue Sirius.” Hermione: “Be careful, Harry.” The camera pans over the place

where the old Harry and the Dementors are. Narrator: “Still using the power of the Time-Turner,

Harry hurried towards the lake. He had to learn who had cast the Patronus Spell that had saved him

from the Dementors.” (While this is being said you see the 'new' Harry hide behind a stone in the

forest on the opposite side of the lake. ) “Had his father come to help him? Had James Potter cast

the spell that saved Harry's life? And then Harry understood. He hadn't seen his father. He had seen

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himself!” Harry runs towards the lake and yells “EXPECTO PATRONUM!”. He runs away from

the lake again, but then Dementors appear all around him.

The gamer gets control of Harry and needs to beat the Dementors again. This time there are

more Dementors and there are more waves. When the gamer succeeds a Patronus runs around in

circles to drive away the Dementors. Harry tries to touch the Stag when the Dementors are gone,

but Hermione comes running and the Patronus disappears. “Harry, I can't believe it... You conjured

up a Patronus that drove away all those Dementors! That's very, very advanced magic!” Harry: “I

knew I could do it this time, because I'd already done it... Does that make sense?” Hermione:

“Harry... we've got to rescue Sirius from the tower and get back to the hospital wing before anybody

realizes we're missing.” “Right... let's go!” We see the trio on Buckbeak's back flying towards the

tower. The moon is high in the sky. They open the lock. And free Sirius. Sirius: “How... How?”

Harry: “Sirius, you'd better go. They'll be here any moment!” Hermione: “Quick... go!” Sirius:

“How can I ever thank..?” Harry and Hermione: “GO!” Sirius runs to Buckbeak, and sits on him.

“We'll see each other again. You are … truly your father's son, Harry.” Sirius flies away on

Buckbeak's back towards the moon. After this scene Ron, Harry and Hermione have to do their

exams.

4.4 The PS2 game Harry Potter and the Prisoner of Azkaban

Illustration 4.4: The cut-scene where Harry says they have to go see Hagrid is supposed to give the gamer a feeling that she has to move quickly.

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The Time-Turner scene in the Playstation2 game of HARRY POTTER AND THE PRISONER OF AZKABAN starts

with a cut-scene where we see Harry, Ron and Hermione are walking around the common room.

The room is dark and deserted.

Narrator: “Harry, Ron and Hermione paced the Gryffindor common room, worried about Hagrid...”

Ron: “They're going to execute Buckbeak tonight.” Harry: We've got to go and see Hagrid. He can't just sit there on his own, waiting for the executioner!” Hermione: You're right. Let's go...”69

You see them walking away, afterwards a loading screen appears.

The gamer gets control over the game. Because of the late hour some doors are closed with a

lock. You have to use other ways to get to Hagrid and you cannot be caught. The castle is very

quiet, there are no students around which there are during the day. The gamer has to walk to the

outside door, but you can walk around as much as you like. You can play Harry, Hermione or Ron.

While you walk around, one of the others might make comments like: “Let's go to Hagrid's NOW!”,

“We've got to go to Hagrid's hut.”, “We're waisting too much time.” When you finally go outside

you have to walk to Hagrid's hut (here again you can take detours), while you hear owls and bats

flying around. It's very dark outside. When you get to Hagrid's hut another cut-scene starts.

Illustration 4.5: Some doors are closed when Harry, Ron and Hermione sneak around at night in the castle.

The gamer sees the house, surrounded by darkness, and hears all kinds of noises in the background.

Narrator: “As Harry, Ron and Hermione arrived at Hagrid's hut the executioner came to seal

Buckbeak's fate.” Hagrid: “He's here... Don't let him see yeh.” Harry, Hermione and Ron hide 69 HARRY POTTER AND THE PRISONER OF AZKABAN (PLAYSTATION2), 2004 – The next references are all from this game too.

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behind the hut. The camera shows only their faces. You hear a bang and the camera zooms in on

Hermione: “Buckbeak. How could they?” The camera moves over to Ron and then a shot of

Scabbers on the grass. Ron: “Scabbers! It's OK, Scabbers! Come back!” Ron runs after Scabbers

into the dark. He gets a hold of Scabbers, but a dog jumps him. Narrator: “Ron was dragged into the

Whomping Willow. Harry and Hermione chased after him.”, while we see images of this happening.

The screen goes dark, then the screen shows a loading screen.

The gamer sees Harry and Hermione in a tunnel, and then gets control over the game again.

You get to play with Harry and Hermione, and run through the tunnels. There is no sense of time in

this part of the game. The gamer has to do some small quests, after which another cut-scene is

shown. Narrator: “The tunnel from the Whomping Willow led into the Shrieking Shack.” A shot of

Ron on the floor holding Scabbers in the front, in the back we see Harry and Hermione on one side

and the dog in the other corner, invisible to Harry and Hermione. Narrator: “Harry discovered that

the black dog was in fact Sirius Black and that Black had not been trying to murder him but had, in

fact, been hunting down Peter Pettigrew...” (The gamer sees the dog change into Sirius Black,

Professor Lupin arrives at the scene. Together they try to attack Scabbers who runs away.) “...the

man that had truly betrayed Harry's parents to Lord Voldemort.” (Scabbers changes into a man.)

Harry jumps in front of Sirius and Lupin, yelling “NO! He can go to Azkaban...” The screen goes

dark and the game loads the next part.

There is an image of everyone walking away from the tree. Narrator: “As they marched

Pettigrew to Hogwarts, the full moon rose and Professor Lupin transformed into a werewolf.”

(During this sentence we see the dark sky, the light of the moon (not the moon itself) and then

Lupin looking at the sky. Lupin runs away and changes into a werewolf.) Sirius turns into a dog

again and, while the trio looks completely surprised, he attacks Lupin. While you do not see it

happening the narrator tells the gamer: “In the confusion Pettigrew escaped.” Next we hear the

sound of a wounded dog while the camera is turned to Harry and Hermione. Harry: “Sirius!” When

Harry and Hermione arrive in the dark forest, Sirius is human again. The Dementors are coming and

Harry and Hermione run to Sirius. Hermione: “Do something, Harry! Please!” Then the screen goes

dark and a loading screen appears.

Hermione runs away from Harry, who is standing at the edge of the lake. The Dementors

come closer, while Harry is holding Sirius. The gamer gets control of Harry and has to drag Sirius

away from the Dementors to Hermione. The Dementors cannot get a hold of Sirius. In the

background we see the castle with the lights on.

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Illustration 4.6: While Harry needs to keep Sirius away from the Dementors, the gamer can see the lights of the castle in the background, which means that though it is late, it is not the middle of the night yet.

When Harry gets to Hermione, she faints. Sirius and Hermione are both on the ground. The gamer

has to do a Patronus spell on the Dementors and keep them away from Sirius and Hermione for a

certain period of time (though this is not made clear in the game). While they attack the gamer hears

the last words of Harry's parents: “Ahhh!”, “Lily! It's him!”, “Take Harry and go!” When you have

kept the Dementors at a distance for long enough, a cut-scene starts. Harry falls on the ground with

loads of Dementors around them. Harry: “No – no – he's innocent...” A shot of a light moving

through the Dementors drives the Dementors away, then an image of someone casting the strong

Patronus. Harry thinks it is his father and then faints as well. The screen goes pitch black and the

next part is loaded.

The camera shows a tower of the castle. It is dark outside and the tower only has two torches

to give some light. Narrator: “Now captured, Sirius Black awaited his fate on the seventh floor of

the West Tower. Harry and Hermione awoke in the hospital wing, eager to explain to Dumbledore

what had happened.” A shot of Hermione and Harry in the hospital wing, Ron is on a bed.

Dumbledore walks up to Harry and Hermione. Harry: “Professor, Black's telling the truth -”

Hermione: “He's innocent, Professor!” Dumbledore: “I believe everything you say. But there is

nothing I can do. What we need – is more time.” The camera shifts between them during this

conversation and ends on Hermione. Narrator: “Hermione understood immediately – Dumbledore

was giving them permission to use the Time-Turner she'd been using all year to attend several

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lessons at once...”(The gamer sees Dumbledore walk away.) Hermione is holding the Time-Turner.

Hermione: “We're going to use the Time-Turner to go back three hours, rescue Buckbeak and then

save Sirius.” The screen fades to black and the loading screen appears.

Illustration 4.7: Hermione shows the Time-Turner, a device that can be used to go back in time.

“Having rescued Buckbeak, Harry and Hermione hid amongst the bushes beside the lake. As the

moment drew closer to Black's capture by the Dementors, Harry's mind wrestled with the vision of

the shadowy figure and the ghostly creature that he had seen by the lakeside...” While we hear this

being said by the narrator, we see images of a dark forest with only moonlight coming through.

Harry and Hermione are sitting near a tree. Harry: “I know it sounds crazy... but I think it was my

dad.” Hermione: “Harry... you musn't be seen!” Harry walks towards the lake. Narrator: “It was

time for the rescuer to appear – but no one was coming to help this time.” The gamer sees images of

the Dementors by the lake, he hears Harry's parents again, and sees the old Harry and Hermione

run. “And then it him him... he had not seen his father, he had seen himself.” Harry: “I've got to

save them!”

The gamer gets control over Harry and has to drive the Dementors away. He has to keep the

Dementors away from Sirius for a certain amount of time (again the gamer has no idea how long).

When he succeeds, a cut-scene starts where the Dementors are driven away by a Patronus that

walks back to Harry. Harry wants to touch the Patronus that looks like a stag. Hermione runs

towards Harry, and says: “Harry! You conjured a Patronus and saved Sirius.” Harry: “I know, but

they'll soon be coming to take him to the tower. We've got to hide...” The screen goes dark and the

gamer sees a loading screen.

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A shot of Harry and Hermione hiding behind a bush appears. In the background you can see

the entrance to the castle. Harry: “Do you reckon Sirius is up there yet” The camera turns to face

Harry and Hermione. Hermione: “Who's that coming out of the castle?” Harry: “Macnair! The

executioner! He's gone to fetch the Dementors!” We see a tower in the dark, only two torches give

some light. Harry: “One of us has got to get Buckbeak to that tower!”

The gamer gets control of Harry and has 120 seconds to fly Buckbeak to the tower. There is

a timer in the top of the screen. While you fly around you see a dark sky with a bright moon, you fly

over the castle where the lights are off now. When you fly towards the tower Sirius is standing on

the roof of the tower. When you are close, a short cut-scene starts. The gamer sees Buckbeak, Harry

and Sirius. “How can I ever thank -” Harry: “Get on – there's not much time! The Dementors are

coming! GO!” Sirius is on the back of Buckbeak saying “We'll see each other again. You truly are

your father's son, Harry!” Then Sirius flies away towards the moon.

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Chapter 5: Similarities and differences between different media in representing time in the narrative of Harry Potter and the Prisoner of Azkaban

5.1 IntroductionIn this chapter I will analyse the data from the book, the PC game and the Playstation2 game,

discussed in chapter 4. I will look for similarities and differences between representations of time,

focusing mainly on time manipulations: changing speed, flashbacks, flash-forwards, simultaneity

and pauses. I will then shortly discuss some other time representations that are of importance to the

narrative: how time itself is used in the Time-Turner scene and how verbs are used to note the

difference in time between happening and telling when Harry and Hermione go back in time.

5.2 Decelerating or accelerating timeThe narrative for all three media is of course the same. When we look at the discourse for Time-

Turner scene, the basic structure stays the same in book, PC game and PS2 game. Looking only at

the Time-Turner event, this structure is:

1. Harry, Ron and Hermione are on the grounds near Hagrid when Buckbeak is executed;

2. Ron sees Scabbers and when he gets hold of him a dog drags him into a hole underneath the

Whomping Willow;

3. Harry and Hermione follow him to save him;

4. They find Sirius Black and Lupin and learn that Scabbers, also known as Peter Pettigrew, is

the man that betrayed Harry's parents;

5. They learn that Professor Lupin is a werewolf;

6. Peter Pettigrew escapes;

7. Sirius is surrounded by Dementors;

8. They are saved by someone, Harry thinks it is his father;

9. Harry and Hermione go back in time;

10. They save Buckbeak;

11. Harry casts a Patronus that saves Sirius and him from the Dementors;

12. Harry and Hermione release Sirius from the tower and Sirius flies away on Buckbeak's back.

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The media do differ in how detailed they explain these events, and wether they mention less

important parts. The story time is three hours, or six hours, depending on your way of counting.

Harry and Hermione relive the same three hours from sunset (about 9 o'clock) till midnight two

times around.

The discourse time greatly differs. The book uses 98 pages to describe the Time-Turner

event. Since it is a pocket version, I guess the average reader would read about 30 pages per hour,

which means the reader would take approximately 3 hours to read this specific scene. In the PC

game the scene takes 34 minutes counting the time the gamer is playing, but since a large part of

this time is used to collect candy or wizard cards, the actual narrative parts are quite short in length.

The scene took me 1 hour and 34 minutes in the Playstation2 game version. Here there are a lot of

things you can only get during this particular playable day and finding these items takes up a lot of

time. If the gamer would run straight to Hagrid's and through the tunnel there would be a big

amount of time 'saved'. So again, the actual narrative parts take up a very small amount of time.

When we talk about the time manipulations acceleration and deceleration we notice

differences between the media. In the book the telling of the event takes up a big amount of the

narrative. The whole book has 462 pages, of which there are 98 about the Time-Turner event. This

is 21.1% of the book. The Time-Turner scene is explained in great detail, which means there is

deceleration when this event is being told. In both games however the Time-Turner scene is not an

important part when looking at the actual duration. The PC game took me about 5 hours to

complete, while the scene only took a little over half an hour, even with all the time searching for

extra candy. This is a percentage of 11.3%. And in the Playstation2 version I needed over 13 hours

to finish the game, while the scene took an hour and a half, 11.9% of the whole playing session.

Here I took a very long time finding some specific items I could only get during this scene. Both

games definitely use acceleration in the time turner scene.

A very clear example of this difference in time manipulation can be seen by looking at the

moment when Sirius Black and Professor Lupin talk about when they were young and how Harry's

parents were betrayed. In the book this is a long moment of deceleration. This particular part takes

42 pages in the book. We get a detailed description of what happened during the teen years of

Sirius, Professor Lupin, Harry's Father and Peter and how Peter betrayed his parents. As a reader

you feel like you read every word that is being said. And seconds in the event world take longer to

read in the real world.

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The same conversation is greatly speeded-up in both games, it is accelerated. In the PC

game Black changes from a dog to a human. Professor Lupin arrives and says to Harry that Sirius

Black didn't kill his parents and that Scabbers is not a rat but an Animagus named Peter Pettigrew.

The one that betrayed Harry's parents was not Black but Pettigrew. In the Playstation2 game the

scene is even shorter. Here it is the narrator who says to the gamer that it was not Black but

Pettigrew who had betrayed his parents.

Because in both games this part of the narrative is so short and undetailed, it makes me feel

that the narrative is only a background for the game. It looks like the narrative has no real

importance. The quests in between the cut-scenes are a lot easier then other quests in the game and

the cut-scenes are short and very much to the point. I sometimes even felt that the gamer would not

understand the narrative if she had not read the book or seen the film. “Games adapted from

movies, television shows, novels, comic books, or other sources have the advantage of referring to a

diegetic world in another medium that may already be familiar to the gamer.”70 Though Wolf

explains that games can use this knowledge, it somehow feels as though the narrative suffers from

this construction.

5.3 Flashbacks and SimultaneityBack in time

When Hermione and Harry go back in time, is this a flashback or simultaneity? To refresh the

definitions of flashback and simultaneity: A flashback is when the current timeline is being

interrupted to tell about an event that has already passed. Simultaneity is when two events happen at

different places at the same time which are both important for the narrative or when one event is

being told from two different viewpoints.

To analyse which of these time manipulations is used, we need to reconstruct the story. I will

first use the discourse as explained on the previous pages, later I will discuss if the different media

have differences in the story. The events are:

1. Harry, Ron and Hermione are on the grounds near Hagrid when Buckbeak is executed;

2. Ron sees Scabbers and when he gets hold of him a dog drags him into a hole underneath the

Whomping Willow;

3. Harry and Hermione follow him to save him;

70 Wolf 2001, p. 101

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4. They find Sirius Black and Lupin and learn that Scabbers, also knows as Peter Pettigrew, is

the man that betrayed Harry's parents;

5. They learn that Professor Lupin is a werewolf;

6. Peter Pettigrew escapes;

7. Sirius is surrounded by Dementors;

8. They are saved by someone, Harry thinks it is his father;

9. Harry and Hermione go back in time;

10. They save Buckbeak;

11. Harry casts a Patronus that saves Sirius and himself from the Dementors;

12. Harry and Hermione release Sirius from the tower and Sirius flies away on Buckbeak's back.

These events are laid out over a timeline of three hours, starting just before sunset, till just after

midnight, to reconstruct the story.

Illustration 5.1: The timeline of the reconstructed story

What this shows more clearly, is that the events after Hermione and Harry go back in time, are in

the same timeperiod as the events before. The current timeline is not interrupted, it is repeated. This

means that this situation can not be a flashback. But can it be simultaneity?

Let's take a closer look at the event where the 'old' Harry is almost getting a Dementors kiss,

but it saved by the 'newer' Harry. I could argue in two ways that this is simultaneity. You can either

say that there are two events happening at different places (though not very far apart) at the same

time. 1: The old Harry almost getting killed on one side of the lake, and 2: The 'new' Harry saving

them with a Patronus spell from the other side of the lake. You could also argue that we see the

same event twice but from different viewpoints. First we see it from 'old' Harry's perspective, who

is fainting because of the Dementor being so close and then sees a bright Patronus. He thinks he

sees his father casting it. The second time the event is being told we see it from the 'new' Harry's

viewpoint and we then notice it is not Harry's father but Harry himself that rescues them.

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When looking at the discourse on this level the three media are the same. However they do

have differences between them. For instance in the book Harry, Ron and Hermione are in Hagrid's

cabin and need to leave because the execution party arrives. In the Playstation2 game they do see

Hagrid, but he tells them immediately to hide, because the executioner arrives. They do not go in

the hut. In the PC game they do not even see Hagrid. When they are close to the hut, they hear a

bang and assume that Buckbeak is executed. Though these differences change the narrative a bit

they do not change the main feeling of the story.

Flashback

However there is one small scene that differs between the book and the two games, which does give

a difference in story reconstruction. There is a flashback in the book. When Harry and Hermione

have entered the Shrieking Shack to rescue Ron, they end up facing Sirius Black. “'You killed my

parents,' said Harry, his voice shaking slightly, but his wand hand quite steady. Black stared up at

his out of those sunken eyes. 'I don't deny it,' he said, very quietly. 'But if you knew the whole story

- '”71 Professor Lupin walks in a bit later and greets Sirius Black like a friend. They are stunned.

Sirius Black wants to kill Scabbers; why, the trio does not understand. “'They've – got – a – right –

to – know – everything!' Lupin panted, still trying to restrain Black. 'Ron's kept him as a pet! There

are parts of it even I don't understand! And Harry – you owe Harry the truth, Sirius!'”72 Professor

Lupin convinces Sirius that they need to tell the whole story, from start to finish to the trio.

“'This place is haunted!' said Ron. 'It's not,' said Lupin, still looking at the door in a puzzled way. 'The Shrieking Shack was never haunted... the screams and howls the villagers used to hear were made by me.' He pushed his greying hair out of his eyes, thought for a moment, then said, 'That's where all of this starts – with my becoming a werewolf. None of this could have happened if I hadn't been bitten … and if I hadn't been so foolhardy...'”73

And Professor Lupin starts explaining his childhood and his teen years with Sirius, Peter and James

(Harry's father). This is the flashback. Professor Lupin shows the trio what happened before, before

their timeline, before the timeline of the events till then. If we would call this part 4a, the timeline

for the story in the book therefore would be:

71 Rowling 1999, p. 36872 Ibid, p. 37773 Ibid, p. 379

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Illustration 5.2: A timeline showing the flashback

This happens only in the book however. Like I explained in paragraph 5.2 the games only

summarise this part of the narrative and therefore the flashback isn't there. In the Playstation2 game

however, we do see Lupin and Sirius attacking Scabbers, and Harry saving him. This we do not see

in the PC version.

Illustration 5.3: Harry saves Pettigrew from the revenge of Black and Lupin in the Playstation2 version.

Illustration 5.4: In the PC game no one tries to kill Pettigrew. He just sits in a corner, before the screen turns black.

5.4 Cut-scenes and pausesThough the narration is a lot shorter in both games, a lot more condensed, there are time

manipulations that are important for the games. All the narration is done in cut-scenes, there are

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multiple kinds of pauses and the Playstation2 game has a timer. In this paragraph I will discuss this

in greater detail.

Cut-scenes

Almost every part of the narration in both games is done in cut-scenes. In the PC game the Time-

Turner scene exists of a cut-scene of the trio hearing the execution of Buckbeak and then Ron

chasing Scabbers and getting attacked by a dog. The gamer gets control in the tunnel from the

Whomping Willow to the Shrieking Shack. Then there is a cut-scene where the trio sees Sirius

Black and learns that Peter Pettigrew was the real killer of Harry's parents. This is followed by a

cut-scene where Professor Lupin changes, Sirius attacks him as a dog and Peter Pettigrew escapes.

The gamer gets control again to save Sirius by casting enough 'Expecto Patronus' spells on the

Dementors. There is a cut-scene where the Dementors are destroyed by a bright light as Harry

faints. He wakes up in the hospital and goes back in time. The gamer gets control of Harry and

Hermione near a fortress and has to save Buckbeak. When Buckbeak is saved, a cut-scene shows

Harry and Hermione waiting at the lake and Harry realising he saved himself. The gamer has to kill

Dementors again and then sees the final cut-scene where Harry and Hermione fly up to the tower

where Sirius is being held and they free and save him. The only differences in the Playstation2

game is the way cut-scenes are displayed.

Timers

There is not much time pressure in the PC game at any point. The gamer can take as long as she

wants in the tunnel, when she should be rescuing Ron. When the gamer has to kill the Dementors

there is a timer, because if the Dementors get to close she will die. However, she has a very long

time to cast these spells, so the chance she won't make it is small. Later the gamer gets control of

Harry to save Buckbeak. There is no time limit again, and the scene also does not really fit in the

narration. Buckbeak was at Hagrid's hut, as that is where he would be executed and where they

thought they heard the execution.

In the Playstation2 game not much changes. Only the way the gamer attacks the Dementors

and the fact that she does not get to save Buckbeak but instead needs to fly Buckbeak up to the

tower to save Sirius. In this last part there is a timer, with actual pressure, because there is little

time. The gamer has 120 seconds to fly to the tower and in the end it took me 64 seconds. I had

trouble flying in the beginning and touched the ground a few times. This meant I would almost

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certainly run out of time. I also had trouble finding the tower. I had to redo the quest a few times

before succeeding.

I assume both games use the cut-scenes to make sure the narrative can not be changed by

something the gamer does wrong when they go back in time. However, if you do not survive the

second attack of the Dementors (when you are supposed to save your old self), nothing changes:

you get kissed by the Dementor and the part starts again. So if there is a construction to make sure

you can only advance to the next part if you succeed in killing the Dementors, then why is there so

little room for an interactive narrative? I will discuss how I think they could have made the

narrative more interactive for the gamer in chapter 6.

Pauses

There are a lot of time manipulations in the games that stop the fictional time for the gamer. The

gamer can, for instance, pause the game. In both games this means that everything will freeze

except sound. Then there are loading screens, a lot of loading screens. When playing the

Playstation2 game in particular I felt like there were loading screens every few seconds. During a

loading screen fictional time stops while real time continues. If there are a lot of loading screens, it

can become very unnerving for a gamer and can kill interest in the game and the narrative. Loading

screens from both games show pictures of relevant events, probably in the hope that it will feel less

of a wait.

Illustration 5.5: While the PC game loads you see small illustrations of the narrative and tips on the screen to make the wait feel shorter for the gamer.

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Another moment the screen freezes and fictional time stops, is when the game is being saved. In the

PC game a gamer needs to walk through some sort of book, the screen freezes for a bit and then the

game is saved. Sometimes as a gamer you can avoid these books, but often they are situated at such

a place you have to walk through them. In the Playstation2 game you have to save the game

yourself. This means the gamer has to realise it is an important time to save what she has done so

far. Sometimes you cannot save the game, like halfway through a quest or exam, because it would

make the quest probably too easy. Instead of starting over you could start at the moment before

trouble arrived.

Illustration 5.6: In the PC game the gamer saves the game by walking through a book. Sometimes the book is placed in such a way the gamer has no choice but to save the game. Other times she has a choice whether or not she wants to save

the game.

The games both have a book, where you can see the cards and other items you have collected, how

much candy you have accumulated to buy items with and you can see in what quest (or day in the

Playstation2 game) you are. When you are looking in this book, time in the fictional world pauses,

so you can take as much time as you need. Those items: wizard cards, collections, candy, etcetera

cost the gamer a lot of time. You need to find hidden rooms for them, do specific actions and

sometimes you have to do that action even at a specific moment, for instance some statue

collectables in the Playstation2 game can only be found before you go to Hagrid's on the night of

Buckbeak's execution.

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5.5 Other relevant issues of timeNotion of time

Time is mentioned a lot in the book Harry Potter and the Prisoner of Azkaban. J.K. Rowling uses

this to explain how quick events seem to happen for the characters, or how slow, how characters

perceive a certain situation or to let the reader/gamer know the approximate time. For instance

“They covered the distance to the trunk in seconds.”74 tells the reader that Harry and Hermione were

really anxious to get to Ron and run to the trunk of the Whomping Willow as quickly as they could.

Time is also very important when Hermione and Harry go back in time. They have to be back at the

hospital wing at the exact right time. This make them nervous to get it right:

“'Right, its nearly time,' said Hermione tensely, looking at her watch. 'We've got about forty-five minutes until Dumbledore locks the door to the hospital wing. We've got to rescue Sirius and get back into the ward before anybody realises we're missing …'”75

The notion of time can also be used to create suspense and let the reader feel what is going on in

someone's mind.

“Harry raised the wand. Now was the moment to do it. Now was the moment to avenge his mother and father. He was going to kill Black. He had to kill Black. This was his chance... The seconds lengthened, and still Harry stood frozen there, wand poised, Black staring up at him, Crookshanks on his chest.”76

The repeating of 'now' makes the reader understand that it is of the utmost importance to do it

quickly and that Harry knows this, but somehow cannot move anymore.

Descriptions can also be used to give a notion of time, in the next example it is a notion of

how much time has passed inside the Shrieking Shack. “Everything was covered in a think layer of

dust except the floor, where a wide, shiny strip had been made by something being dragged

upstairs.”77 The reader will draw the conclusion that the house has not been used for a very long

time, but that recently something was dragged through, probably Ron by the dog.

All these notions of diegetic time are only in the book, in the games they are left out. A very

clear example of mimetic and diegetic time, are the sun and the moon. J.K. Rowling uses the sky as

a way to tell time: “The sun was already sinking behind the Forbidden Forest, gilding the top

branches of the trees.”78 In the PC game we see this image as Ron chases Scabbers to the

74 Rowling 1999, p. 36275 Ibid, p. 44476 Ibid, p. 36977 Ibid. p. 36478 Ibid, p. 352

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Whomping Willow (Illustration 5.7).79 In the Playstation2 game we do not see this specific image

since the grounds are completely dark when you run to Hagrid (Illustration 5.8).80

Illustration 5.7: When Ron runs after Scabbers, the gamer sees the sun shining from behind the trees in the PC game.

Illustration 5.8: When Ron runs to Hagrid the grounds are already dark in the Playstation2 game.

An image that can be found in all three media is the moon in the sky, which is repeated throughout

the scene. In the book the Time-Turner scene ends with:

79 HARRY POTTER AND THE PRISONER OF AZKABAN (PC), 200480 HARRY POTTER AND THE PRISONER OF AZKABAN (PLAYSTATION2), 2004

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“'We'' see each other again,' he said. 'You are – truly your father's son, Harry...' He squeezed Buckbeak's sides with his heels. Harry and Hermione jumped back as the enormous wings rose once more … the Hippogriff took off into the air … he and his rider became smaller and smaller as Harry gazed after them … then a cloud drifted across the moon … they were gone.”81

This is represented in both games as well. Sirius flies towards the moon on Buckbeak's back. In the

Playstation2 game the clouds are also present, while in the PC version the sky seems clear.

Illustration 5.9: Black flying to the moon in the Playstation2 game.

Illustration 5.10: Black flying to the moon in the PC game.

Verbs as signals

As explained earlier the verbs used let us now a great deal about the time having passed between the

events and the telling of them. In the book there is a narrator who talks about all the characters with

81 Rowling 1999, p. 447

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absolute knowledge. He uses simple past, which gives the reader the impression that the narrative

has already happened, but it not finished yet.

“Fred pulled something from inside his cloak with a flourish and laid it on one of the desks. It was a large, square, very worn piece of parchment with nothing written on it. Harry, suspecting one of Fred and George's jokes, stared at it.”82

In the book Harry and Hermione need to talk about themselves when they go back in time. They use

either simple present or present continuous when this happens at that same moment, like the

moment Harry asks: “'What happened? We were walking down to Hagrid's three hours ago …' 'This

is three hours ago, and we are walking down to Hagrid's,' said Hermione.”83 They also talk about

themselves in past perfect: “'Looks even worse from here, doesn't it?' said Harry, watching the dog

pulling Ron into the roots. 'Ouch – look, I just got walloped by the tree – and so did you – this is

weird -'”84

Both the PC game and the Playstation2 game have a narrator. In the PC game when possible

characters are used to explain what is happening but sometimes the narrator gives extra information

or a summary of the events. He uses simple past or past continuous when the gamer is shown in

images what the narrator is telling. “For a brief moment, Harry thought he saw someone trying to

help him.”85 At other moments the narrator uses past perfect or past perfect continuous is to inform

the gamer of events that we do not see but did happen. “It was agreed that Pettigrew would be taken

back to Hogwarts and turned over to Professor Dumbledore.”86

The narrator in the Playstation2 game talks in the simple past or past continuous to the

gamer. While he explains the events in words the gamer will see it happening in cut-scenes at the

same time. In both games the spoken words are subtitled in English, probably to make it easier to

understand what is being said.

All three media use past tenses, which should give the reader/gamer a fairy tale feeling. I

personally feel that in the games however, the telling of the narrative is so short and to the point that

the fairy tale feeling diminishes, maybe even disappears.

82 Rowling 1999, p. 20783 Ibid, p. 42684 Ibid, pp. 434-43585 HARRY POTTER AND THE PRISONER OF AZKABAN (PC), 200486 Ibid

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Chapter 6: Discussion

In this thesis I wanted to answer the question: How is time represented and used in the book and

games of Harry Potter and the Prisoner of Azkaban, specifically when time manipulations are

concerned?

Similarities and differences between time representation in literature and games

There are similarities and differences between literature and games in general. The story and

discourse are set in stone in a book, they will not change between readings. In games the discourse

can differ greatly because the gamer decides in which order the actions are taken, though most

games will only offer a small number of choices at specific moments in the game. Times like story

time, discourse time and historical time all exist in both media. Both games and books can let the

gamer/reader know how much time is passing by, either marked or diffuse time. These are

represented using diegetic time in literature and using both mimetic and diegetic time in games. The

story time can be slowed down or speeded up. While it is the writer that decides speed in literature,

it is the gamer and game mechanics that decide the speed of the narrative when gaming.

In literary fiction a pause means a description of a setting or person, stopping story time

while discourse time continues. In games however, using a pause means stopping both story and

discourse time. The gamer stops playing for an amount of time. When games are saved the pause

stops the fictional time, however the play time (discourse time) continues. The same goes for

loading screens.

“Since play time is projected on fictional time, pausing the play time should logically also pause the fictional time and and hence the fictional world. A common violation of this principle regards sound: In Black & White (Lionhead Studios 2001), the environmental sounds continue playing when the game is paused.”87

So sound can go on while fictional time is paused.

There are a few important differences between games and books. Cut-scenes are a way to

manipulate time and narratives in games. They give direction to narratives, put the gamer in the

right direction and are a way of speeding up time. The fictional time goes on, but the gamer cannot

act during a cut-scene.

Flash-forwards are used in books to create suspense but are not used in games. If there

would be flash-forwards the gamer's actions would not be useful. Flashbacks are common in literary

87 Juul 2005, p. 151

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fiction, however as I said in chapter 3 Jesper Juul points out that they are hard to accomplish in

games:

“Using cut-scenes or in-game artifacts, it is possible to describe events that led to the current fictional time, but an interactive flashback leads to the time machine problem: The player's actions in the past may suddenly render the present impossible. This is the reason why time in games is almost always chronological.”88

About simultaneity in games not much is known. As Jesper Juul claims that time in games has to be

chronological, one could argue simultaneity would be hard to achieve. However the Time-Turner

scene, where Harry and Hermione go back in time, is in both book and games an example of

simultaneity. It is part of the same timeline. This shows that simultaneity is possible in games when

the narrative allows it. It will probably be represented using cut-scenes to make sure the gamer can

not change the situation.

Timers only exist in games. Timers are clocks, of all sorts. They are used to tell how much

time is passing, in seconds or years, but most of all they are used to add time pressure. The gamer

only gets a certain amount of time to achieve a goal, to end a quest. If time runs out the gamer has

failed. For a timer to really cause pressure, it has to be set in such a way that there is neither too

much or too little time for the quest at hand. Too much time and the time pressure is gone, too little

will cause frustration.

Time manipulations in the different versions of Harry Potter and the Prisoner of Azkaban

Time manipulations are represented in different versions of Harry Potter and the Prisoner of

Azkaban in different ways. The most important ones are simultaneity, flashbacks, cut-scenes, timers

and pauses. As explained before, simultaneity is used in Harry Potter and the Prisoner of Azkaban.

When Harry and Hermione go back in time, this is simultaneity. Jesper Juul comments “The

player's actions in the past may suddenly render the present impossible.” He therefore decides that

these changes in time can not be interactive.89 The simultaneity in both games however is at least

partly playable. The gamer gets to defeat the Dementors for instance, both times around. If a

character would not succeed that would indeed change the story, but in a game this just means that

the gamer will have to repeat that part till she finishes it.

Another time manipulation in Harry Potter and the Prisoner of Azkaban is the flashback.

Professor Lupin tells of his past and that of his friends Sirius Black, Peter Pettigrew and James

88 Ibid, pp. 147-14889 Ibid, p. 148

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Potter. He tells of how Peter Pettigrew betrayed Harry's parents and Sirius Black gets caught for it.

This only exists in the book Harry Potter and the Prisoner of Azkaban.

Cut-scenes are used to represent most of the narrative in both of the Harry Potter games. The

narrative unfolds while the story time goes on. However the gamer cannot act, the narrative is not

interactive. The cut-scenes are short and therefore the events have to be told in a very concentrated

way. This means the details of the narrative, for instance the information of how Peter Pettigrew

betrayed Harry's parents and Sirius got arrested for it, are left out of the cut-scenes and are unknown

to the gamer.

Timers are not used a lot in the games of Harry Potter and the Prisoner of Azkaban. There is

a timer in the Playstation2 game when Harry Potter flies Buckbeak up to the tower where Sirius

Black is being held. This timer does give time pressure since it was quite difficult to find the tower

in the time allotted.

In the PC game there are points where the game can be saved in the form of a book. Though

some of these saving points are in places where you can decide whether to save the game or not,

however most are situated in such a way that you will have no choice but to make use of them. In

the Playstation2 version the gamer gets to decide when to save the game, however, at some

moments saving is not allowed to make the game harder. Both games have loading screens between

rooms or different days. These loading screens pause the fictional time, while the playtime

continues. Loading screens from both the PC and the Playstation2 games have illustrations of the

narrative on them, in the Time-Turner scene this means there are images of the Dementors. The PC

version also has tips for the gamer. These illustrations and tips are used to make the waiting time for

the gamer seem shorter. Both games can be paused, the fictional time will stop except for the music

which will go on.

This means that time representations differ partly between book and games of Harry Potter

and the Prisoner of Azkaban. These differences bring about a change in how detailed the narrative

is explained and perceived. Time manipulations therefore can, in my opinion, influence a narrative.

Losing essential properties

As explained in the beginning of chapter 2 Ryan postulated that she thinks differences in media will

cause differences in the narrative. She did not agree with Claude Bremond that the essential

properties of a story would not be lost when transferring it from one medium to another.90 When

90 Ryan 2004, p. 1

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reviewing the similarities and differences between the media, especially considering the analyses of

Harry Potter and the Prisoner of Azkaban, I agree with Ryan. The representations of time that

influence the narrative are different between literature and games, especially the time

manipulations: Some time manipulations that the books can use are hard to achieve in games, while

other time manipulations like timers do not exist in books. This contributes to the narrative being

more condensed in the two game versions. Though the gamer might understand the big picture

when she is told the narrative in a game, details of the narrative have changed. The narrative in both

games would be hard to understand if you had not read the original book or seen the movie.

Other possibilities for interactive narrative

As explained before the narrative in the games was almost completely in cut-scenes. Infact, the

narrative unfolds only during the cut-scenes. During the Time-Turner scene only a few simple

actions can be taken between the cut-scenes: walking through a tunnel, killing the Dementors,

saving Buckbeak from a fortress – there never was a fortress in the book - or flying Buckbeak up to

the tower. This concurs with Jesper Juuls comment: “In short, games based on movies tend to pick a

few select action sequences, which are then simulated in game sequences – as we saw with Star

Wars. Character description and development is either ignored or done in cut-scenes (since this is

too hard to implement in game form.)”91 In my opinion there could have been less of the narrative in

cut-scenes, the gamer could have actually done more.

For instance you could let the gamer (in the person of Harry or Hermione) walk to Hagrid

for the second time but tell the gamer that she cannot be seen by the earlier self. In the game they

have a quest where you have to sneak past Professor Snape, he cannot see you. I assume that in the

same way they can program this with versions of Harry, Ron and Hermione running down to

Hagrids. The game would register how the gamer walked the first time and “replay” the route while

the gamer plays the scene for the second time.

Timers would be another way to make the Time-Turner scene more interactive. It could be

some simple adjustments like putting timers in already playable parts. A timer in the tunnel would

give the gamer the impression that she really has to hurry to get to Ron, instead of being able to

walk around like nothing happened. There could also be a timer when you save Buckbeak. New

possibilities for timers would for instance be that the gamer gets to run back to the hospital wing

and only has a certain amount of time to do this. Another example would be to actually save

91 Juul 2001

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Buckbeak from the ground in front of Hagrid's hut. You would have only a minute to go to

Buckbeak and fly on his back without being seen by the executioner's party.

These are only a few examples of ways to apply more interactivity to the narrative. By using

timers and making more of the narrative playable, the rest of the narrative could have been told in

more detailed cut-scenes. There could even have been a flashback cut-scene to see how Peter

betrays Harry's parents and Sirius. This would mean that less of the narrative would be lost in the

conversion from book to game.

In short the answer to the question “How is time represented and used in the book and

games of Harry Potter and the Prisoner of Azkaban, specifically when time manipulations are

concerned?” is that there are differences between time representation in books and games. Games

have in-game time manipulations in the form of pauses, loading screens and save games, next to the

narrative time manipulations which are differently represented. The Time-Turner scene, which

exists in both book and games, is a simultaneity. All narrative related time manipulations in Harry

Potter games are in cut-scenes. Therefore the games do not use in-game time manipulations for the

narrative, only for the game play.

Possible future research

Since I researched only one narrative and even only one part of that narrative, the Time-Turner

scene, it is not certain that my findings can be generalized. Therefore further research could be

done.

• This can first of all be done by researching the whole book and games. In the games there

are for instance mini-games with timers and high scores, how do these influence the

narrativity or the narrative?

• Secondly other games that have narrativity could be researched to see if my findings are

correct. Maybe the Harry Potter and the Prisoner of Azkaban games are low in narrativity,

but in other games solutions already have been found to improve interactive narrativity.

• I made several suggestions to improve the interactivity in the Time-Turner scene. These

could be tested to see if they really do add to the narrative.

• There is also a Harry Potter and the Prisoner of Azkaban movie. This one could also be

added to the sources for research to see if the games' narrativity is more like that of the

movie and also how the narrative has been adapted to film.

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Bibliography

Primary sourcesLiterature:

Adams, Douglas, The Hitchhiker's Guide to the Galaxy, London, Pan Books, 1979, reprint 2006

Brown, Dan, The DaVinci Code, London, Corgi Publishing, 2004

Crusie, Jennifer, Eileen Dreyer and Anne Stuart, The Unfortunate Miss Fortunes, New York, St. Martin's Paperbacks, 2007

Rowling, J.K., Harry Potter and the Prisoner of Azkaban, Londen, Bloomsbury Publishing, 1999

Verhoef, Esther, Rendez Vous, Amsterdam, Anthos, 2006

Games:

ASSASSIN'S CREED, 2007, Ubisoft, DVD, Playstation3, Ubisoft

THE SIMS 1, 2000, Maxis, DVD, Windows, Electronic Arts

THE SIMS 2, 2004, Maxis, DVD, Windows, Electronic Arts

THE SIMS 3, 2009, The Sims Studio, DVD, Windows, Electronic Arts

FABLE: THE LOST CHAPTERS, 2005, Lionhead Studios, DVD, Windows, Microsoft Game Studios

HARRY POTTER AND THE PRISONER OF AZKABAN (PC), 2004, Electronic Arts, DVD, Windows, Electronic Arts

HARRY POTTER AND THE PRISONER OF AZKABAN (PLAYSTATION2), 2004, Electronic Arts, DVD, Playstation2, Electronic Arts

Secondary sources Bal, Mieke, De theorie van vertellen en verhalen. Inleiding in de narratologie., Muiderberg, Uitgeverij Coutinho, 1990, 1e druk 1978

Boven, Erica van and Gillis Dorleijn, Literatair Mechaniek. Inleiding tot de analyse van verhalen en gedichten, Bussum, Uitgeverij Coutinho, 1999

Crawford, Chris, Chris Crawford on Interactive Storytelling, Berkeley, New Riders, 2005

Doniger, Wendy, The Implied Spider. Politics & Theology in Myth, New York, Colombia University Press, 1998

Elkins, James, 'Time and Narrative'. http://www.jameselkins.com/Texts/narrative.pdf (2nd September 2008)

Herman, David, Manfred Jahn and Marie-Laure Ryan, Routledge Encyclopedia of Narrative Theory, New York, Routledge Ltd, 2008

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Juul, Jesper, 'Games telling stories? A brief note on games and narratives' in Game Studies (volume 1 issue 1), 2001, http://www.gamestudies.org/0101/juul-gts/ (2nd September 2008)

Juul, Jesper, Half-Real. Video Games between Real Rules and Fictional Worlds, Cambridge, The MIT Press, 2005

Ryan, Marie-Laure, Narrative across Media. The Languages of Storytelling, Lincoln, University of Nebraska Press, 2004

Wolf, Mark J.P., The Medium of the Video Game, Austin, University of Texas Press, 2001

Illustrations3.1: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. Just before the Time-Turner scene starts the gamer gets to end a day.

3.2: Screenshot from ASSASSIN'S CREED (http://gamerslife.web-log.nl/photos/uncategorized/assassins_creed.jpg)

3.3: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. Christmas has arrived and the grounds are snowy white when the gamer walks outside.

3.4: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. When the gamer has to save Sirius Black by flying Buckbeak to a tower, there is a timer to add time pressure.

4.1: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN PC game. The gamer sees the moon coming from behind the clouds just before Professor Lupin turns into a werewolf.

4.2: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN PC game. When killing the Dementors the player needs to cast the Patronus spell at the exact right moment, when the white ring is over halfway up the wand.

4.3: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN PC game. Harry thinks he sees someone helping him when the Dementors attack Hermione, Sirius and Harry.

4.4: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. At the beginning of the Time-Turner scene tells Harry that they have to get to Hagrid.

4.5: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. When Harry, Ron and Hermione try to get to Hagrid during the Time-Turner scene some doors are closed because of the late hour.

4.6: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. When the Dementors attack Sirius Black Harry drags him away from the Dementors.

4.7: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. The Time-Turner shown by Hermione to Harry

5.1: Timeline of the reconstructed story

5.2: Timeline of the reconstructed story including the flashback

5.3: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. When Harry, Ron, Hermione, Sirius Black, Professor Lupin and Petter Pettigrew are in the Shrieking Shack, Harry saves Pettigrew from Black and Lupin.

5.4: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN PC game. Peter Pettigrew crawls into a corner when he is recognised in the Shrieking Shack. Noone tries to kill him.

5.5: Screenshot of a loading screen in HARRY POTTER AND THE PRISONER OF AZKABAN PC game.

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5.6: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN PC game. The gamer is in the tunnel when she saves the game by walking throught the book.

5.7: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN PC game. Ron runs after Scabbers after they see him walking around on the grounds.

5.8: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. The gamer runs to Hagrid before the execution as Ron.

5.9: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN Playstation2 game. Sirius Black flies, at the end of the Time-Turner scene, towards the moon.

5.10: Screenshot of HARRY POTTER AND THE PRISONER OF AZKABAN PC game. Sirius Black flies, at the end of the Time-Turner scene, towards the moon.

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Harry Potter and the Prisoner of Azkaban: Manipulation Time

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