Nothing but respect.

for this.

It's not a working transformer costume, but it's the same in spirit.

Bioshock

Lots of posts, I know. I just finished Bioshock over the weekend. It was fun, and the setting was certainly atmospheric. However, I can't see why the game won awards for its story, more than its setting. The moral choices were pretty stark (SPOILERS - save the Little Sisters or kill them), and your choices ultimately weren't that consequential, except that it gave you one of two different endings. But, the limited moral choice aside, the biggest issue I had was that Bioshock was not so much a story-driven game but an exploration of recent history. Ken Levine gave an interview recently on why stories in video games suck, and he revealed that a remarkable amount of Bioshock's story was left on the editing room floor. It was condensed from a span of months to a single day. And that leaves the player out of some pivotal events in Rapture's "history", and instead he/she is left with picking up audio recordings of what happened. It is an exercise in - at best - piecing together what happened, rather than participating in the events.

And that hamstrings the emotional kick of the game. The audio recordings alone did get me to sympathize with certain individuals or revile others. But the foregoing the opportunity to interact with these people, either as events were going on or in the aftermath, was a narrative and emotional waste. Instead, you’re just left with shooting a bunch of psychos.

But I don’t want to be too harsh. Bioshock was good, and it had some excellent moments of set-piece story underpinned by a light layer of philosophy. But the story never matched the atmosphere. And the fact that Bioshock is renowned for its story is more an indication about the story state of narrative in video games, rather than a positive recommendation for the game.

Still filler...

So obviously, I continue to lie about my involvement with this blog. But work feels like work even when I'm not working. Yes this is a link blog item, but let me say I never expected to read something like this on a major gaming gossip site--a smart article about sexuality and juvenile sexuality in video games that doesn't spend all its time mired in preemptively defending itself from charges that it wants to take everyone's cheesecake frosting or equating boobs with adult material. It's one of the smartest thing ever on one of these sites really ever. Possibly the only flaw being that as the writer's expertise/interest seems to be Chinese cinema, all the examples come from there. Already one or two of the thicker set in the comments section think it's a comment on just one national culture, and not gaming culture generally.

Without delving into what the approach to narratives should be in video games, the sooner characterization in games matures past sexuality = thongs--though, first things first, we need to go by adult = sex--the sooner we can all collectively sneer off the folks who try to rationalize porn trading cards in Witcher as being character building.

It's interesting, I think, how the fact that this sort of discussion is so rare shows how much the study of video games is. It's still mostly concerned with defining what a "video game" is and the admittedly big task of figuring out the mix interactivity, game, and narrative . . . in essentially expanding the vocabulary of how you talk about games. It's so much in its infancy it hasn't even come up with pretentious term for itself yet, like "interactive novel" or vide0 games* or something.

More or less, there are a lot of John Woos, a few John Fords** out there in gaming, maybe even a Spielberg, but no Hitchcock. Which is me trying to say, conventions in games aren't common enough (mostly a strength of gaming actually, that they can be so varied) that the master manipulators work in genres of games instead of narrative genres) that we have designers playing with audience expectations just yet.*** That self-aware design cycle might've begun in adventure gaming (if adventure gaming was even half as healthy now as when Sierra was churning out franchises it might've even gone past jokes) but mostly, not enough examples of manipulating audience expectation. I don't actually like audience manipulation, it turns into cheap shocks usually, but when you're meta enough to start designing that way, that's when gaming will have really matured.

Chengora, I invite you to finish Bioshock and tell me if I'm wrong.


* You have to see the zero, and know that Art Spiegelman wants adult comics to be called comix, by the way, or it's not funny.
** Sid Meier/Miyamoto in Zelda mode
*** Penn and Teller don't count.

Narrative in RPGs

It's been ages since anyone's written, but Duvall tells me he's got a post coming up. So, in the interest of restarting this thing, I'd like to discuss something that's been on my mind. No, not the election, although a post on that may come soon enough.

No, I've been thinking about RPGs, specifically this roundtable discussion. I never really played the classic computer RPGs like Ultima, becoming engrossed in the genre during Black Isle's heyday of Icewind Dale (ID - only okay), Baldur's Gate (BG - grand and epic, but a little trite), and Planescape: Torment (PT - probably one of the finest examples of narrative).

But, as the roundtable discusses, they just don't make RPGs like they used to. Something has gone out of the narrative and immersion. American cRPGs are beginning - in my mind - to resemble Japanese ones. You're dropped into the middle of events, and you're essentially a glorified gopher. Your tasks focus on picking up the 3, 4, 8 fragments needed to put the magic weapon back together, complete the ingredients to your spell, save the world. But you have little choice in the matter, and your actions don't mean anything as a result. As important, the worlds feel "artificial:" they don't feel lived in, as if they persist both before and after your character.

And I think one of the main reasons for this drop in immersion is technology. Sure, graphics in the past few years have made a tremendous leap. The Infinity engine has nothing on the Aurora engine. But text used to play an enormous role in these games, mostly because the engines couldn’t produce the effects that were needed. Pretty lights? Sure thing. Big explosions? Check. Emotive effect through facial animation that can keep up with your dialogue choices? Uh oh.

But that was okay. Well-written text created immersive environments and effective narrative when combined with the literally thousands of characters that inhabited the BG and PT games.

With the newer technology, designers have opted for fewer characters and fancier graphics, thinking that tech can potentially substitute for the emotional content that came from narrative. But – to cite just one example – when you enter cities in Oblivion, do you notice something missing? That's right: people. The world outside may be vast and fun to explore. But the cities are sparse and lifeless affairs, because there is no background to explain WHY you should become the head of the fighter’s guild, why your choice is meaningful beyond the swag that you receive.

I think the strongest analysis in the roundtable is that RPGs have become, in effect, single player MMORPGs. No real background, no real narrative, no “world.” Which is why I’ve been finding myself getting into shooters. The best – Half-Life 2, Call of Duty 4 – tie your actions into a larger narrative much more effectively than many recent RPGs, and they do it with a variety of content and gameplay (it also helps that guns are just that much better from a first person perspective). They are immersive: nowhere near PT, but better than NWN1. But they don’t set themselves up as needing to create a coherent world.

So, RPG makers, craft a narrative that gives meaning to my choices; make me care about a character’s relationships, not about leveling up; immerse me a rich history. Give me worlds again.

Cracking

So on my recent trip to Taiwan and Indonesia, I picked up various kinds of electronic equipment for friends and for myself: a microSD card, a reader for said card, a portable hard drive. This being Asia, invariably there were stands nearby selling all kinds of pirated DVDs, music, and video games. (On one of the occasions, I was wearing a suit, so it was a little weird walking through.)

I'm not going to talk about the benefits and evils of pirating. I'll make one quick comment and one long observation. First, quickly, Taiwan has really cleaned up its piracy issues. I remember several years ago walking along the night market outside my grandma's house as seeing DVDs everywhere. Nothing now.

Second, and longer, the experience in Indonesia especially got me thinking about some recent developments in video games. It's very difficult to copy-protect DVDs - sooner or later someone cracks it. But I wonder whether the recent trends of online play, constant updates and upgrades, and occasionally half-finished game releases aren't in some way tied to anti-pirating efforts. On several of the games, I saw disclaimers (in English, surprisingly) that you could not use the DVDs to play online. In addition, the ones where that was possible (I haven't obviously tested whether this is true) appeared to be older games that came out a minimum of 1-2 years ago.

And the reason online play is blocked is because the game developers can constantly check up on the legality of your copy. Most cracks to play games illegally require invasive changes to the executable file or core game files. That kind of thing is pretty easy to suss out. Similarly, constant file updates also make it very easy to catch crackers and force them to reinstall. Cripple your initial release just enough, string out your updates long enough, and you'll likely get all the people who were going to purchase the game to do so legally.

So, how plausible is this? I'm sure it's not the only reason behind buggy releases and constant updates with limited tweaks. But it could very well be a contributing factor to why certain types of games - especially single-player, offline ones - are increasingly being packaged with specific online features.

My first adult system

Indeed, I picked up a Wii today. Mine is now named Leopold, and my computer is Bloom, for what that’s worth. Anyway, a friend of mine has judiciously been checking the Wii’s availability at the local gaming emporium since its release last year...clearly we wanted it, but only when we could just step in and pick it up.*

I don't know what to say that hasn't been covered by every other venue, but it's my first console system that wasn't originally given to me by my parents (ahh, Power Pad), so as someone called it today, it's my first grown-up system. Bit strange, since for me it has no killer app (I actually own games for systems I don't own), so I didn't pick it up for one compelling reason (Golden Axe). I wax pretty effusive when talking about it, even with the polite nodders who would never think of buying one and foolishly allow me to think all the things I think about it out loud. Like its relative affordability, great design, low power consumption, the general good karma of the company behind it, ease of use. You know, like Apple. Except, you know, populist and welcoming. But the fascination with it is clearly that created not just a hot purchasable item, but a social event of sorts. Mothers I know who never touch these things will play with the Wii . Why, with the messageboard in place, it's truly a purchase for a household--a person to person social creation. Mind you, the Nintendo GameCube, other than a few, potent franchises (Mario, Zelda...) seemed to hold its own only through its party games, so it's not a new idea to them. While the other systems allow for side-by-side play, none of them encourage it the way Nintendo does, which may allow it to claim at least the number two spot in the console market. As made evident by the xbox, tech specs (though not too shabby in either incarnation), matters less if players have an easy, intuitive way to connect with friends.**

But now I'm meandering, and I still have to set up my wireless router so I can register Leopold with the proper authorities—and I can be reunited with the 70ish-fitness-leveled Mii I created on my friend’s system the first time I played...and maybe I'll get around to that post about the video game as the next great novel.

*I'm not sure how it is with you folk, but I passive/aggressively add barriers to things that are luxuries. Like go to a movie I have marginal interest in only if number of friends want to see it, wait for the price drop, etc... My personal consumerist tipping points. Waiting till it I could walk in and get it is a pretty weak one, so it was pretty obvious I was getting one.
**Xbox Live being that machine's killer app far more than Halo ever was.