Spanner"Ever since the first RPG was made, computer and videogames have been sorely lacking in well developed characters." Spanner looks at characterization in gaming, with a heavy dose of Spider-Man for good measure.
Issue 28 - To Be The Hero
- Thread starter The Escapist Staff
- Start date
Original Comment by: Raja
A great example of what I think the article is getting at is Shadow of the Colossus. The game is very understated -- you aren't given the sort of "canon" information that someone playing a Spider-Man game has. The introductory FMV presents the scenario: the protagonist has brought the body of a dead girl before "the powers that be" to petition for her resurrection. In exchange they want him to destroy sixteen colossi. You aren't told anything specific about why the protagonist wants the girl alive or why the powers that be want the colossi dead.
Do you have to kill the colossi to win? Yes. But the colossi are creatures of such great beauty and majesty that I, at least, feel a twinge of genuine guilt each time I stab a weak point and blood fountains from the wound. I'm constantly asking myself if this girl's life -- be it for love, or some other reason -- is worth the lives of the colossi. I'm skeptical of the powers that be and don't trust their motives. I constantly question whether I'm doing the right thing... and all this from a game with hardly any dialogue.
A great example of what I think the article is getting at is Shadow of the Colossus. The game is very understated -- you aren't given the sort of "canon" information that someone playing a Spider-Man game has. The introductory FMV presents the scenario: the protagonist has brought the body of a dead girl before "the powers that be" to petition for her resurrection. In exchange they want him to destroy sixteen colossi. You aren't told anything specific about why the protagonist wants the girl alive or why the powers that be want the colossi dead.
Do you have to kill the colossi to win? Yes. But the colossi are creatures of such great beauty and majesty that I, at least, feel a twinge of genuine guilt each time I stab a weak point and blood fountains from the wound. I'm constantly asking myself if this girl's life -- be it for love, or some other reason -- is worth the lives of the colossi. I'm skeptical of the powers that be and don't trust their motives. I constantly question whether I'm doing the right thing... and all this from a game with hardly any dialogue.
Original Comment by: Reid
http://game.rbkdesign.com
Well written article and I wish more executives and senior designers unstood the importance of story in games. Lots are more focused on the gameplay but I believe both story/character development and gameplay should be treated equally. I believe that if the character is well developed, they will drive the action and gameplay. I look at TV programs like LOST, 24 and the new Battlestar Galactica as examples of character driven narratives that feature plenty of action. A game should work the same way.
I also believe that our language of gameplay needs to expand. I have seen few games that feature social gameplay. How to socially interact with characters to get what you want, be it information, an object or a service from them. I don't think games will reach their ultimate potential until they feature more social interactions between characters that cause the players to dig deep into their moral fiber and struggle to make what they believe to be the right choice.
-Reid
http://game.rbkdesign.com
Well written article and I wish more executives and senior designers unstood the importance of story in games. Lots are more focused on the gameplay but I believe both story/character development and gameplay should be treated equally. I believe that if the character is well developed, they will drive the action and gameplay. I look at TV programs like LOST, 24 and the new Battlestar Galactica as examples of character driven narratives that feature plenty of action. A game should work the same way.
I also believe that our language of gameplay needs to expand. I have seen few games that feature social gameplay. How to socially interact with characters to get what you want, be it information, an object or a service from them. I don't think games will reach their ultimate potential until they feature more social interactions between characters that cause the players to dig deep into their moral fiber and struggle to make what they believe to be the right choice.
-Reid
Original Comment by: SKTurner
I think this article does an excellent job in describing the problems in the relatively new medium of video games. While books, movies, and graphic novels can lead the audience around like a tired old dog on a leash and a choke-chain, gamers need more something more to find the depth in their medium.
I think the answer to the problem can be found in the position of a method actor. After all, the interactive nature of the video game turns away from the normal cinema and asks each player to take part as the lead role. What's needed in video games then is not just Final Fantasy style cut-scenes, but history and motive. Gamers aren't passively playing games, so the game shouldn't treat the role of the main character as passively. If a game can deliver a good sense of motive that the player can take to heart, the player will have a better experience.
Now as far as cut scenes go, they do well enough in feeding a player motive by giving backstory, but organized interactive situations can make it that much more personal.
At least, that's what I got.
I think this article does an excellent job in describing the problems in the relatively new medium of video games. While books, movies, and graphic novels can lead the audience around like a tired old dog on a leash and a choke-chain, gamers need more something more to find the depth in their medium.
I think the answer to the problem can be found in the position of a method actor. After all, the interactive nature of the video game turns away from the normal cinema and asks each player to take part as the lead role. What's needed in video games then is not just Final Fantasy style cut-scenes, but history and motive. Gamers aren't passively playing games, so the game shouldn't treat the role of the main character as passively. If a game can deliver a good sense of motive that the player can take to heart, the player will have a better experience.
Now as far as cut scenes go, they do well enough in feeding a player motive by giving backstory, but organized interactive situations can make it that much more personal.
At least, that's what I got.
Original Comment by: Steven Davis
http://www.playnoevil.com/
In order for games to mature beyond "Robotron" and "NetHack" - mindless or clever exercises in destruction - and to be taken seriously as an art form, games need to move towards meaningful "moral sandboxes". Environments where choices have persistent ethical consequences.
While modern computer games have done a superb job of capturing the visual elements of art, the central game play and choice component that distinguishes gaming as an interactive art form has been trapped at the emotional age of 6. Players happily mow down endless army men and pluck the wings off of flies just to see what happens (consider, if you will, the joy of destruction that lies at the heart of many games... even including The Sims).
A moral sandbox means that player actions must have moral consequences. World War 2 first person games need to move beyond ever more elaborate "shooters" to games where players will be willing to have their player die and "lose" to save their squadmates. Urban action games will have real consequences for shooting people - and not just from "alerted" law enforcement bots. Even fantasy action games like God of War can further enrich their moral choices
This does not have to be some gross simplification and it will inevitably lend to greater replay value. Black & White teased with moral choice, but morality is most interesting in its infinite shades of grey... difficult decisions with no right answers, no strategy guides... just like art, just like life.
http://www.playnoevil.com/
In order for games to mature beyond "Robotron" and "NetHack" - mindless or clever exercises in destruction - and to be taken seriously as an art form, games need to move towards meaningful "moral sandboxes". Environments where choices have persistent ethical consequences.
While modern computer games have done a superb job of capturing the visual elements of art, the central game play and choice component that distinguishes gaming as an interactive art form has been trapped at the emotional age of 6. Players happily mow down endless army men and pluck the wings off of flies just to see what happens (consider, if you will, the joy of destruction that lies at the heart of many games... even including The Sims).
A moral sandbox means that player actions must have moral consequences. World War 2 first person games need to move beyond ever more elaborate "shooters" to games where players will be willing to have their player die and "lose" to save their squadmates. Urban action games will have real consequences for shooting people - and not just from "alerted" law enforcement bots. Even fantasy action games like God of War can further enrich their moral choices
This does not have to be some gross simplification and it will inevitably lend to greater replay value. Black & White teased with moral choice, but morality is most interesting in its infinite shades of grey... difficult decisions with no right answers, no strategy guides... just like art, just like life.