Gaming Trends Part 1: Narrative in Games
by Roly Reyes on February 26, 2008 at 1:09 am
Over the past few weeks, I’ve been noticing quite a few themes that have been making their way through the industry. Throughout last week at GDC, many of these took center stage in a variety of forms. First, we examine narrative in games.
It’s no secret that I’m a total 1UP fanboy, and while listening to a recent 1UP Yours podcast, Shawn Elliott prompted a discussion about the way stories unravel in games. Shawn said, in reference to Yakuza and its approach to storytelling, “I was saying ‘God, how did I miss this?’ because I’m a fan of games with good narrative but then when you said it was cutscenes it was immediately irrelevant to me because the cutscenes are just like — they may as well not be part of the game.”
This got me to thinking about narrative in games, and I came to the conclusion that there are two opposing kinds of people with polar reactions when they are presented story sequences while gaming.
There are those that are content with putting the controller down at the end of an epic battle to watch a cutscene analogous to something that may be seen in film. Then there are those that are annoyed and angered when they’re taken out of the experience and feel they are forced to watch something that is aped from another entertainment medium– film.
Let me preface the rest of this one-man rant by stating that regardless of which side of the fence you’re on, more power to you. Nobody can criticize you for what you enjoy.
Now, although watching cutscenes doesn’t particularly tempt me to drive off a cliff, I do think that gaming is a unique form of entertainment with a unique opportunity to take storytelling to the next level by telling a story with someone, as opposed to at them.
For the most part, this has been a missed opportunity. The closest I feel gaming has gotten to taking advantage of our unique abilities as a medium is with the Half-Life series, by never taking control out of the players hand and forcing players to interact with the environment. However, as great as Half-Life 1, 2, and the episodes have been, they still leave a lot to be desired.
To continue to use Half-Life as an example, although it comes so close in terms of getting everything right, it falls short at the same time by virtue of the main protagonist being a virtual nobody. He doesn’t speak, he doesn’t have a personality, and his interaction with those around him never goes past sight or sound. As far as I’m concerned there is no main protagonist, there is no Gordon Freeman.
That’s no knock against Half-Life, it’s definitely among my favorite games of all time. I’m aware the guys over at Valve made him a blank canvas consciously, to serve the purpose of engrossing you in the experience — but for me, it does just the opposite. And in spite of that, they’ve still delivered the most intense and emotional experience I’ve ever had in a game through the ending of Episode 2; if you played it, I’m sure you’re right there with me.
To step away from Half-Life, 2K Boston’s head honcho Ken Levine made us aware of where he stood during his GDC ‘08 session ‘Ken Levine Speaks: Empowering Player to Care About Your Stupid Story’ by rhetorically asking “What’s the purpose of a cutscene?”, then continuing, “It’s to push information at the player. It’s the same as linear media — it’s not our advantage, it’s not our strength.”
The point that I’m trying to make is: if you’re a developer, I challenge you to think outside the box and make your game something unique that can’t ever be emulated by films or novels. And if you’re just a gamer like me, I encourage you to continue to challenge developers just as I have.
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- Gaming Trends Part 2: The State of PC Gaming
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- Gaming Trends Part 4: Reviewing Reviews
- Michael Gallagher, ESA CEO: “…we are entering the golden age of gaming.”
1 Comment » |
on February 26, 2008 5:37 pm
I agree with you — for the most part. Half-Life, Bioshock, and other games that keep gamers in the bodies of their characters even while the story unfolds are a step in the right direction. But in those games, we’re still dealing with a linear plot-line; Gordon Freeman, Bioshock guy, and Portal Samus-analogue all went from point A to point B in their respective tales. Even Bioshock, which expounded ambitions of creating an ecosystem for Rapture’s fallen citizens, barely managed to rise above a substandard level of artificial intelligence, and the game’s world suffered for it.
Only once videogames are able to give birth to truly evolving, maleable, “living” worlds will we be able to say that we’ve crushed the shackles of film and other media that currently hold us so tightly.