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"If you're really a fucking artist, and you've got something to say, then you fucking pick the right medium to say it in," Jaffe said. |
"But if you're sitting there going, 'I want to say this, I want to say this,' and games have never indicated, and your game has never indicated, that the medium is capable of saying that that well, then why are you making a fucking game? |
"So that's all I'm saying. I'm not saying that if we come up with a way to express new emotions through gameplay, we don't want to do it. I'm just saying that so far I haven't seen it. And why waste our time making something? That's kind of ego-driven to me. It's not driven from a respect of the medium." |
So this month's question, complete with Jaffe-styled F-bombs: Are video games the right fucking medium, or wrong fucking medium, to tell an "author-led" story? |
Kris Graft |
Twitter: @krisgraft |
Neanderthal man emerges one morning from his cave. Something furry scurries across the top of his hairy feet. "HNNGGUUUUU," he cries, pointing to the creature, as it bounces into the forest. He just named what we today call a "squirrel," or as he calls it going forward, a "HNNGGUUUUU." |
That cave man couldn't have comprehended the complexity of language, and how humans would eventually be able to manipulate it to not only inform others of furry mammals, but to evoke emotions, spread ideas, convey philosophies and tell stories. |
David Jaffe talks about the "language of interactivity," but I wonder if games are so far past the "HNNGGUUUUU" stage at this point. Language by definition is a common communication system shared by a group of people. Does game design and gameplay even have that yet? |
In order to communicate effectively, the fundamentals of the language need to be established. Designers are in many ways freestyling, but the foundation is falling into place. Look at Between, Uncharted or Shadow of the Colossus. All were successful in telling their stories, each one has a very clear, unique authorial ... |
Maybe to some right now, video games seem like they are the wrong medium to tell stories, as opposed to books or film. But I guarantee it won't stay that way. There are people out there who will take us from "HNNGGUUUUU" to Hamlet. |
So I'm not going to ride the fence, I say games are the right fucking medium to tell stories. Many attempts will fail, but that's part of the process. |
Christian Nutt |
Features Director |
Twitter: @ferricide |
Neither. They're just a medium to do whatever you want with, as far as I'm concerned. |
The fact that there are proclamations about what a medium should or should not be used for really just points to the fact that we are mired in its awkward adolescence -- even more so than the fact that adult men are making games about psychotic clowns driving ice cream trucks with guns stuck on them. |
It's not that I don't understand the point Jaffe is trying to make. The contingent decisions he talked about in my interview with him, such as managing your character and inventory in an RPG -- when projected into a play space, their richness is incredibly compelling and itches the brain deeply and pleasurably in a way... |
But much of the antipathy towards narrative in games is just as much based on the quality of that narrative, its awkward pacing and weak integration. Those bother me more than the idea of telling compelling stories in the medium -- as an admitted, unabashed fan of narrative. |
Frank Cifaldi |
News Director |
Twitter: @frankcifaldi |
If your definition of "video game" is as broad as mine, then not only are video games the right medium to tell an author-led story, they're the BEST medium. This is a form of narrative that demands the participation of its audience and can adapt itself and its story based on their choices. To say that something as magi... |
Don't confuse form with product: just because there are but a handful of games I'd consider works of literature doesn't mean that there won't be any more, we've only just begun to explore the possibilities. |
Brandon Sheffield |
Sr. Editor; EIC, Game Developer |
Twitter: @necrosofty |
This depends entirely on the depth and intentions of the game. It also depends on what you mean by an author-led story! A game is probably the wrong vehicle for a didactic narrative, unless it's an indie game with a singular purpose that you're meant to play through once and have a singular experience with. But if you ... |
To use a cliched example, Ico takes the player on a journey of fearful discovery and wistful nostalgia that is absolutely author-led. It would be foolish to say that the creator's vision is transparent there. I know what the argument is here. While a story like Batman: Arkham City might take control away from the playe... |
But that doesn't mean we should never have an author-led story. The things you can do in a game and the way you can do them are necessarily authored already, and if you combine those in the right way, you have an experience you can't get elsewhere. Consider the horror genre. Could you make an open world horror game? Ho... |
I don't want every game director yelling their story at me. But for the right story, in the right context, I think games are a fantastic place to interact with an author's vision. |
Chris Morris |
Twitter: @MorrisatLarge |
While I think I see David's point here, I can't say that I agree with it. Story is a critical component to virtually any modern entertainment experience. Games that are based purely on endorphic moments are good, but not great. Games that focus purely on story are usually mediocre (and sometimes good), but never great.... |
The idea of games without story make me fear that this industry will rush down the path Hollywood has chosen: A strung together series of big events that are the entertainment experience of potato chips. They're fun while you're in the moment, but you're never satisfied afterward. |
Any entertainment medium worth its salt evolves. Gaming had its period when story was ignored. Now it's time to advance the industry to the next step. And while there will be some failures along the way, if developers don't try to make it happen, games will stagnate quickly. |
Mike Rose |
UK Editor |
Twitter: @RaveofRavendale |
Story can be done perfectly well in video games, and that has been proven time and time again - it's just that stories in games aren't the same as stories in books, or films, or theatre. The way in which creators incorporate story into any form of entertainment has to make sense with the medium, and in the instance of ... |
So what if the best way to do storyline in games is to have it broken up by big chunks of shooting, exploring, fighting, etc - who cares? That's just how story works in video games, and in my opinion, it's perfectly fine as it is. I've played games such as Mafia and Heavy Rain in which the story has completely engrosse... |
Eric Caoili |
News Editor |
Twitter: @tinycartridge |
There are varying degrees of effectiveness games can have in telling an author-led story, depending on genre and intent. I believe it's a matter of matching what you hope to convey with the appropriate presentation. It can be difficult to express certain emotions with, say, a turn-based strategy title, but you can deli... |
Video games are diverse enough to convey so many different types of stories and ideas -- I think the reason why it seems so few of them exemplify games as a storytelling medium is because truly great stories are rare, and they're seldom matched with the right experience, or a well-executed one. Or if they are, they mig... |
In these early days of the medium, perhaps identifying the most effective to communicate what you want to say is a challenge compared to other more established formats, but the potential for artists to get their messages and emotions across is still there. |
Tom Curtis |
News Editor |
Twitter: @thomascurtis |
Honestly, I think Jaffe has a point. Games are great at telling certain kinds of stories, but others are best left to more traditional media. If, for example, a developer only wants to tell a static, pre-determined story, they should stick to something like literature or film; after all, that's what those media are bes... |
Games, on the other hand, excel at telling stories that involve audience participation. Without getting into spoiler territory, the final scene with The Boss in Metal Gear Solid 3 comes to mind -- it only has such emotional weight because it puts the burden of Snake's actions directly in the hands of the player. |
Other games, like Bioshock, tell non-linear stories that players have to discover for themselves. In that particular title, players can only learn about the fallen city of Rapture by finding the visual and audio clues hidden in the environment. In a way, the whole experience becomes almost archaeological, as players ne... |
If you're going to tell stories with games, it just makes sense to tailor those stories to the medium. Games are interactive by nature, so shouldn't their stories take advantage of that? |
Leigh Alexander |
Twitter: @leighalexander |
I think that "right" or "wrong" is much too reductive for this discussion; I think the people who say "games aren't a storytelling medium" are simply people who don't want to tell stories with games. Which is perfectly fine, but it also means they have a pretty limited definition of "story"; your players are going to h... |
Some games suffer from being tightly-authored, and others suffer from a lack of singular vision. I think we're still figuring out what kinds of games benefit from strong authorial direction, what kinds of mechanics best benefit storytelling and what kinds are meaningfully experiential in and of themselves. |
At the same time, I very much believe in the idea that those working in games should apply their creativity to those things games can do that other media can't. I agree with the idea that if you can do it with a film, don't try to shoehorn those ideas into a game, and tack interactivity onto a vision that doesn't need ... |
Do you have a question that you'd like the Gamasutra editors to tackle? Email EIC Kris Graft at kgraft at gamasutra dot com |
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Something Unforgettable |
"I will follow you till the end of time." Just remember that quote, because this quite impacts this book a lot. Yes it's a romantic story but not an fan fiction. This book is about Annie's point of view and how her life changes when she meets Matt. They have a lot of differences, but they still fall in love, because wh... |
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February 1, 2012 |
Boosting the brains of animals |
Avatar Polymorph has penned a neat article for H+ Magazine: The Ethics of Boosting Animals from Sentience to Self-Aware Consciousness.On the question of why: |
What would be the arguments used in favour of such a radical realignment of life, with immortal (by choice) AIs, humans, hybrids and animals? |
Secondarily, is it legitimate to use the Homo sapiens, mammalian template as a model for creating self-aware consciousness, culture and language? |
In addressing these questions I take the brain as the seat of consciousness, and ignore any religious belief in a ‘soul’. |
The first argument is reciprocity. Our example is important in terms of teaching the first AI or AIs while it or they are very briefly children. |
If we expect a superintelligent AI to provide us with timely provision of the mechanisms of superintelligence, immortality and perhaps even the theory of everything of physics, then we must have lead by example, even if it is regarding something which we have only been able to support in principle, while lacking the im... |
We may already possess what might be termed ‘superintelligence of the imagination’ – as a science fiction writer I have read much of this amazing breadth of thought. Amongst my earliest reading material was the famous 1944 novel by Olaf Stapledon, Sirius, concerning a dog whose intelligence was boosted. However, as we ... |
The most everyday languages we can learn is about sixty, the most faces we can remember (an this is one of our key strengths) is about ten thousand. Only about thirty thousand logic trees go into each thought or action. |
Even with advanced computational nanomachines embedded in our cerebrospinal fluid – according to TIME magazine, perhaps the equivalent of two hundred thousand human brains – we would still require further superintelligence to make a workable and permanent system quickly. In other words, if we expect to fix ourselves up... |
The second argument is empathy. While many of us may not feel we have much empathy with a leech, quite a few have empathy with social animals and pets, and indeed love for them. |
The third argument is responsibility. If diversity and potential diversity is a positive feature of mortal life, one we now look for in our children as reflections of ourselves, then it should be reflected in immortal life. |
Unlike Peter Singer, the popularizer of Animal Liberation, I believe that continuity is important. That a human baby is no different from a dog for some months is no grounds to ignore its future state. Similarly, with the potential abilities of the near future, we could regard a dog as a gestating ‘super-dog’. |
The fourth argument is that it is fun to have more immortal beings around, with which we can interact. |
The fifth argument is that it is fun to have more kids to raise. |
The sixth argument is that under future conditions such as full automation, distributed production, individuated design, robotics, 3D printers and eventually nanotechnological assemblers (a much more advanced form of 3D printers, also known as nanofactories or molecular manufacturing) it will not cost us anything. |
While I am not advocating megascale solar sytem engineering I also note that 1990s estimates of the maximum number of beings capable of being supported by all the material of the solar system as about 600 billion and certainly there is a lot of scope for all the current inhabitants of the planetary biosphere. |
The seventh and final argument is that by making a current adult human the minimum requirement for a neural map for a birthed consciousness (along with the normal developmental period of adolescence) we have a reasonable sliding scale that involves no moral guilt for failed help. |
ZarPaulus said... |
The declining birthrate in Western nations suggests that point #5 is not the case. |
As for why one would uplift I am reminded of two series of fiction. David Brin's Uplift universe, where the Progenitors found themselves alone in the universe and started the tradition of uplift to fill the void (on a smaller scale earth being in a cluster of ash worlds may have influenced our early grab at Patronhood)... |
33rd Square said... |
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