Act 1 - Set up
"If a screenplay is a story told with pictures, then what do all stories have in common? A beginning, middle, and end, though not necessarily, as mentioned, in that order; it is a story told in pictures, in dialogue and description, and placed within the context of dramatic structure."

"In this unit of dramatic action, Act 1, the screenwriter sets up the story, establishes the character, launches the dramatic premise (what the story is about), illustrates the situation (the circumstances surrounding the action), and create relationships between the main character and the other characters who inhabit the landscape of his or her world."

From looking at this, I can see that Act I has the main role of introducing the different aspects of the story, such as the characters and the stories premise.
Hopefully, I will be able to reflect this within the first act of my story, as my concept is for the events on the first level to establish the objective of the game (which the events of each level would be working towards).

Act 2 - Confrontation
"During this second act, the main character encounters obstacle after obstacle that keeps him/her from achieving his/her dramatic need, which is defined as what the character wants to win, gain, get, or achieve during the course of the screenplay. If you know your character dramatic need, you can create obstacles to it and then your story becomes your character, overcoming obstacle after obstacle to achieve his/her dramatic need."

During the events of my story, I too will need to include an obstacle for the protagonist's dramatic need. However, as my story is being created for a game, there would be obstacles such as the land/level itself and the enemies that appear on the different islands. I will most likely not particularly count this as the confrontation section of the story, as this will be a common obstacle that will be visible in the game starting from the first level. However, there is another section of my story that suits the confrontation section/Act II, being that around the halfway point of the game, my concept is for the protagonist to encounter the antagonist, and to be attacked by him, leading to the protagonist's ship becoming shipwrecked. I believe that this could be an effective event for Act II, as the events that occur on the island become impacted by this and require the player/protagonist to steal a ship from pirates to continue their journey.

Act 3 - Resolution
"It is held together with the dramatic context known as Resolution. I think it's important to remember that resolution does not mean ending; resolution means solution."

"What is the solution of your screenplay? Does your character live or die? Succeed or fail? Get married or not? Win the race or not? Win the election or not? Escape safely or not? Leave her husband or not? Return home safely or not? Act III is that unit of action that resolves the story. It is not the ending; the ending is that specific scene or shot or sequence that ends the script."

For the ending of my game, there will only be one set ending, as I have decided to not go with a branching narrative, but instead a linear nodal narrative. However, I already have an idea of how I want to include during the last act of the story/what the solution of the story will be (being that the protagonist survives, finds his father, and defeats the mechanical shark/antagonist).

How do you get from one act to another?
"If these parts make up the whole, the screenplay, how do you get from Act I, the Set-Up, to Act II, the Confrontation? And how do you get from Act II to Act III, the Resolution? The answer is to create a Plot Point at the end of both Act I and Act II."

"A plot point is defined as any incident, episode, or event that hooks into the action and spins it around in another direction–in this case, Plot Point I moves the action forward into Act II and Plot Point II moves the action into Act III."
I will also need to try and manage to include plot points into my story to progress through the different acts, but I'm hoping that I will be able to achieve this with the use of the events that occur on the different islands.

Chapter 4 - Building a Character
"Reading it from this perspective, I saw four things, four essential qualities that seemed to go into the making of good characters: (1), the characters have a strong and defined dramatic need; (2), they have an individual point of view; (3), they personify an attitude; and (4), they go through some kind of change, or transformation."

I'm hoping that the character that I have created fit the four qualities above, as I created (most of) the characters to seem different from each other. However, I'm not sure how much of a transformation the crewmember character will undergo throughout the story, as they're secondary characters, and don't really have too much of an important role within the story.

"...I saw that every main, or major, character has a strong dramatic need. Dramatic need is defined as what your main characters want to win, gain, get, or achieve during the course of your screenplay. The dramatic need is what drives your character through the story line. It is their purpose, their mission, their motivation, driving them through the narrative action of the story line."

Although many of my characters that will be in the story (the crewmembers/sidekick) are minor/secondary characters, when creating them I gave them each a dramatic need. Most of these needs are unique, but some are shared with other characters (such as the first crewmember character Leonard, wishing to fulfill the wishes of the protagonist's/Ace's mother, Amelia, which is what the protagonist/Ace himself is also trying to do).

Chapter 10 - The Scene
"The scene is the single most important element in your screenplay. It is where something happens-where something specific happens. It is a particular unit or cell, of dramatic (or commedic) action–the place in which you tell your story."

"A scene can be as long or as short as you want it to e. It can be an essential story beat (progression), or it can be a transition, a way to bridge the elements of place and time. It can be a complicated three-page dialogue scene or as simple as a single shot, like a car streaking down the highway. It can be a complicated flashback scene (or as I like to call it, a flashpresent scene) like the jailbreak scene in The Shawshank Redemption where Andy Dufrense escapes. The scene can be anything you want it to be."

During my story/game, scenes will be shown in the form of cutscenes. These cutscenes will be sections of the game that show the events that would consider more major/important to the story (such as character important introductions, deaths, and major actions).