Game 1 – Page 2 – Interactive Digital Narratives

Bioshock Infinite: Ideology as Mythology

After baptism, the protagonist, Booker DeWitt, awakens outdoors in Columbia. The ambient light is blinding as you (Booker) gaze upon three obelisk statues of Columbia’s (and America’s) founding fathers: George Washington, Thomas Jefferson, and Benjamin Franklin. You are a pilgrim, and a new child of Comstock (Columbia’s leader and prophet), who is to be raised and taught the ideologies of Columbia. You have already been drowned in the waters of Christianity, and now you will be shown and taught the rich history and ideologies of Columbia that you must hold in the same regard as the religion you have been fed: unquestionable and sacred. You are introduced to “Father Washington, Father Jefferson, and Father Franklin”, as you gaze upon their monuments for the first time in the Bioshock Infinite universe along with symbols of the Scroll, Sword, and Key.

These are symbols of Columbian ideology: the Key being science and ingenuity, the Sword being militaristic force and power, and the Scroll being knowledge and education. This symbolism is no different than what American children are exposed to through education and being raised in American society. The difference this time around is that these founding fathers and symbols are recognizable to the player now as opposed to when he/she were a toddler, first being introduced to these men through books in grade school. However, the divine semblance of these men has been exaggerated in the Bioshock Infinite universe. They resemble what appears to be more similar to ancient Greek regards of their Gods and mythology. The three statues display the founding fathers in a heightened divine state, wearing togas, rippling with muscle, and standing stories tall. This exaggerates the mythology constructed behind their history that is more subtly done in the American history books. Americans rarely seem to recognize the mythological and almost religious manner in which we regard our history and founding fathers. We praise their every action and word as sacred, to the point where we maintain and worship a two-and-a-half century old document written by them. This is no different than a nationalistic bible of sorts. We unquestioningly accept these men as all knowing founders of this country and as thanks, we abide by every word and dictate they have imparted unto us. It is difficult as Americans to question or even realize this notion in reality because our palettes have become so accustomed to the taste of nationalism and patriotism. When one has been singing the national anthem at every public juncture as a prayer and tasked with learning the Constitution and American history as scripture, it becomes obvious how nationalism can evolve into a mythology/quasi-religion right under our noses. However, when represented through the scope of a video game and framed as the ideology of “other”, specifically Columbian, the dogmatic nature of our own nationalist ideals is unveiled to the player.

Game Log #3 (Bioshock) – The Dissonant, Diegetic Soundtrack

Bioshock’s underwater city of Rapture is an environment that physically embodies broken dreams. Built by the visionary Andrew Ryan, the city was meant to represent the high-minded ideals of creative and scientific freedom, along with the optimism of 1950’s America. The freedom that Rapture offered ultimately lead to its downfall, however. The invention of Plasmids and Adam … Continue reading Game Log #3 (Bioshock) – The Dissonant, Diegetic Soundtrack →

Bioshock’s underwater city of Rapture is an environment that physically embodies broken dreams. Built by the visionary Andrew Ryan, the city was meant to represent the high-minded ideals of creative and scientific freedom, along with the optimism of 1950’s America. The freedom that Rapture offered ultimately lead to its downfall, however. The invention of Plasmids and Adam gave citizens new, powerful abilities, but ended up driving the populace into a state madness and obsession. The once-pristine, rusted and flooded environments of Rapture stand as a testament to what Rapture once was and how the errors of man caused everything to quickly go awry.

In Dr. Lerner’s Film Music course, I learned a great deal about how music is used to compliment film, and I find that many parallels can be drawn between video game and film soundtracks. In the case of Bioshock, dissonant, diegetic music can regularly be found playing from phonographs and radios within the game’s world. I am drawn to one particular memory from my first time playing Bioshock, when I found myself pinned between one of these radios and a horde of angry splicers. As Bobby Darin’s rendition of “Beyond the Sea” played in the background, I desperately used the last shells in my shotgun to dispatch my attackers that dashed at me from the dark. When the cacophony of my firing had died down and the splicers lay dead, I finally could take a deep breath. All the while, “Beyond the Sea,” kept playing softly.

Not only did the diegetic soundtrack serve to draw me into the world, but it served to highlight the broken dreams of Rapture just as the broken physical environment does. “Beyond the Sea” embodies late-40s-early 50s American optimism, with its melody and lyrics conveying a sense of cheerfulness and comfort. The splicers that attacked me, on the other hand, were a reflection of Raptures failures and the monster the city had become. The music served, therefore, as a dissonant soundtrack (or a soundtrack that does not match the actions on screen). Dissonant soundtracks are a common filmic technic, and they often emphasize particular themes or emotions by choosing music that purposely counters what is expected in a scene. Like the once-shining statues of Rapture, the diegetic music represents what could have been. Rapture was founded on optimism and creation, and the contrast between the music and reality confirm this. Ultimately, Rapture’s decaying physical environment and the game’s music work together to solidify that Rapture is a land of tattered dreams and corrupted potential.

Game Log #2 (Bioshock) – Player Choice

Bioshock is often pointed to as an example of a game that turns the mirror back onto the player, making them question the very nature of the game following its major twist and conclusion. As Bioshock nears its final chapter, it is revealed to the player that the phrase “would you kindly” was used throughout the game to … Continue reading Game Log #2 (Bioshock) – Player Choice →

Bioshock is often pointed to as an example of a game that turns the mirror back onto the player, making them question the very nature of the game following its major twist and conclusion. As Bioshock nears its final chapter, it is revealed to the player that the phrase “would you kindly” was used throughout the game to get the player character to perform specific actions. Both the character and the player were subconsciously controlled throughout the entire game without realizing it, a revelation that functions as a reflection on games themselves. In most games the player is expected to obey the game’s instructions without question in order to complete a mission/task, and Bioshock highlights this specifically. How much choice does the player of a game like Bioshock really have? While the player has control over their weaponry, powers and approach to each mission, ultimately the phrase “would you kindly” draws each player of Bioshock to the same confrontation with Andrew Ryan.

It should be noted that Bioshock’s self-questioning nature is a well-covered topic, and the game is regularly pointed to as a “deep” or “thought-provoking” video game (for example, I’m sure several members of our class will be examining Bioshock in Game Logs this semester). The phrase “would you kindly” is a particularly well-recognized term in circles familiar with gaming, and it has become a sort of video game meme on the internet as a result. I have played Bioshock through once, and my play through this semester allowed me to view the game with new eyes. I was aware of the game’s twist and message from the beginning, and so this allowed me to observe the game’s functions from an alternative point of view. Ultimately, I realized that the game directs the player in many more ways than just with the “would you kindly” phrase. For instance, a large, yellow navigation arrow looms at the top of the screen, constantly directing players to the level’s end goal. While I chose to play Bioshock without the arrow because I enjoy exploring the entirety of each level, the arrow functions in the same way that “would you kindly” does, always pushing the player towards a singular goal and inhibiting exploration. The game’s on screen prompts also suggest a similar lack of player choice. Text phrases like “PICK UP EVE” can be read almost as commands, partially explaining why I tended to bound through levels picking up everything I could get my hands on. While it was almost always beneficial to do so, my compulsive collection of items may have been spurred on by the game constantly telling me what to do.

Bioshock’s “would you kindly” phrase works in conjunction with several game mechanics to guide each player of the game in a particular direction. While Bioshock does offer different endings and multiple ways to tackle each level, players are guided down a particular path that leads to the same levels in the same order. In more ways than one, Bioshock questions player choice and the very nature of games

The Hero with One Face

This summer, I played a bit of Dragon’s Dogma, an action role-playing game. The bulk of my time with the game was spent not slaying monsters or progressing through the storyline but fine-tuning the dozens of sliders and switches that govern my character’s appearance. I know many players clamor for games with such meticulous character creation systems, but I personally find them overwhelming. … Continue reading The Hero with One Face →

This summer, I played a bit of Dragon’s Dogma, an action role-playing game. The bulk of my time with the game was spent not slaying monsters or progressing through the storyline but fine-tuning the dozens of sliders and switches that govern my character’s appearance.

Dragon's Dogma's character creation screen. — Dragon’s Dogma’s character creation screen.

I know many players clamor for games with such meticulous character creation systems, but I personally find them overwhelming. Needless to say it was a relief when Dragon Quest V‘s own opening sequence asked that I enter a name for the main character…

Dragon Quest V's "character creation" screen — Dragon Quest V’s “character creation” screen

… and that’s it. From this point on, NPCs and in-game menus will address the Hero by the name I chose, but all other facets of his identity (including the requirement that it be his and not her identity) are pre-written and locked by the developers.

Without its name-entry screen, Dragon Quest V would be no more customizable than a novel or film. With it, starting the game is somewhat akin to stepping into a role in a play or movie. Like a character from a script is activated and actualized by an actor’s performance, DQV’s own Hero is complete but for one variable (namely, the name) to be supplied by the player. Of course, this analogy is not perfect, since the actor necessarily imbues a performance with his/her own mannerisms and personal interpretation of the role. Meanwhile, DQV (and most videogames) lack both gameplay intricate enough to distinguish one player’s performance from another as well as an audience to divine that difference.

Perhaps DQV’s approach maps a route to a different kind of immersion into a game world: that is, encase the player in a suit of armor so thick that the wearer cannot channel her own identity beyond its confines. Given the worship of individualism and self-expression in American culture, this articulation of “immersion” – a videogame buzzword that has been overloaded to mean many things, including a game’s capacity for self-expression – may at first sound depressing or confining.

But as therapist George Enfield argues in his reflection on using RPGs as a treatment tool in counseling, “through engagement in the role-playing activity, clients may express conscious issues … or they may symbolically express and play out unconscious struggles.” (228). Enfield further stresses that by playing as a powerful hero or heroine, “clients are able experiment [sic] with and master elements of an alternate identity – the person they would like to become.” (230). When the player’s identity is so cleanly divided from the hero’s, each in-game action solicits reflection on the distance between the player’s and the Hero’s abilities and morals, as well as perhaps an aspiration to close that divide.

Where some RPGs, like Dragon’s Dogma, produce heroes that bear the marks of their player-creator, others, like Dragon Quest V and Marvel Hero Clicks (one of the games that Enfield prescribes to his clients), minimize or prevent that very influence through their pre-written protagonists. In other words, where the former encourages the player to see his/her own influence in the hero, the latter wants the player to imagine himself/herself as (or in contrast to) the Hero.

Cited

Enfield, George. “Becoming the Hero: The Use of Role-Playing Games in Psychotherapy.” Using Superheroes in Counseling and Play Therapy. New York: Springer Publishing Company, 2006. Proquest ebrary. Web. 27 Oct. 2016.

Sexualizing Lara Croft for Profit

In his article “Lara Croft: The Ultimate Young Adventure Girl,” Kurt Lancaster details the sexualization of the famous Tomb Raider protagonist Lara Croft. An interesting aspect of this article is the shift in focus Lancaster takes with regards to the … Continue reading →

In his article “Lara Croft: The Ultimate Young Adventure Girl,” Kurt Lancaster details the sexualization of the famous Tomb Raider protagonist Lara Croft. An interesting aspect of this article is the shift in focus Lancaster takes with regards to the way Croft is sexualized. While most people discuss Croft’s sexualization from a design standpoint—her bust line, her wardrobe choices, etc.—Lancaster focuses on the strategies employed by Tomb Raider’s developers to sexualize Croft for profit.

Though now Tome Raider is developed by Crystal Dynamics, at the time of the article’s publication, the Tomb Raider franchise was developed by Core Design Ltd. Core Design was not afraid to show off Croft’s body. A prominent image on the official Tomb Raider website was that of Croft lying seductively on a canopied bed in a provocative black evening gown.¹ The image was used to entice the (assumed) male player to come and “play” with Croft by focusing entirely on her sexualized body rather than the adventure or action she undertakes.

This image was used to entice players to join Lara Croft on her adventures through the sexualization of Croft’s body

This image is not the only way in which Core Design sexualized Croft to sell the Tomb Raider games. At major gaming expos, such as the Electronic Entertainment Expo (E³), Core Design would hire models to become a physical embodiment of Lara Croft, thus affording characters a physical embodiment of their sexy dream girl.¹

Rhona Mitra was one of the first Lara Croft models: models hired to be photographed as Croft for the excitement of the game’s players

In my opinion, Lancaster’s 2004 article shows how far the Tomb Raider franchise has grown. As mentioned in my previous posts about Tomb Raider, Croft’s sexualization is already downplayed in the reboot, with more realistic body proportions and clothing choices. Crystal Dynamics promotional work for the game, such as the game’s 2 E3 trailers below, also focus less on Croft’s sexualized body and more on her status as a survivor.

In this way, Crystal Dynamics and Square Enix have taken a great leap forward by focusing promotion of the Tomb Raider franchise on Lara Croft’s status as a female action hero, rather than as a sexy adventurer. Though the Tomb Raider franchise was built on Lara’s status as a sex symbol, it appears that developers are slowly moving away from this stigma to create a more fully developed and feminist approved female videogame character. If this would have been possible without the franchise’s pre-existing success through the sexualization of their character, however, remains to be seen.

Sources

Lancaster, Kurt. “Lara Croft: The Ultimate Young Adventure Girl. Or the Unending Media Desire for Models, Sex, and Fantasy.” PAJ: A Journal of Performance and Art, vol. 26, no. 3, 2004, pp. 87–97. www.jstor.org/stable/3246480.

Image Sources

www.jstor.org/stable/3246480

https://www.pinterest.com/pin/64387469646426872/

They’ll be Here Before too long: Racial Conflict in Bastion

The world that Bastion sets up is defined in large part by the conflict between the Caels, the builders of the Bastion, and the Ura, a people native to the continent that live beyond Caelondia’s walls. That conflict broke out into open war fifty years before the events of the game, when the Caels built […]

The world that Bastion sets up is defined in large part by the conflict between the Caels, the builders of the Bastion, and the Ura, a people native to the continent that live beyond Caelondia’s walls. That conflict broke out into open war fifty years before the events of the game, when the Caels built a railroad to haul ore and spices out of the “wild unknown,” unwittingly treading onto Ura territory in the process. The animosity between the two peoples runs deep – the Caels built the rippling walls around their home city to keep the Ura out. Ura that move to Caelondia or are born within it are not allowed to leave, as the city’s leaders believe they will leak Cael secrets to the Ura military. And a major part of the Ura character Zia’s backstory is the suspicion and mistrust she received at the hands of her Cael classmates.

Bastion’s setting is fantastical, but the Ura/Caelondian conflict is very reflective of historical colonial narratives and other games that seek to exploit them. To some degree, it even shares the problems that games like Colonization have in limiting the performativity of native peoples (in this case, the Ura). Rucks’ narration details a significant effort by the people of Caelondia to “tame” the wilds, and use walls to keep the parts that could not be tamed (like the Ura) at bay. In fact, our main character, the Kid, had a job maintaining the walls that kept the Ura out. The first named Ura we meet is othered almost immediately – his clothing and complexion are wildly different from the Kid and Rucks – and he later becomes the game’s main antagonist. And we learn less about Ura culture than about Cael culture, mostly because Rucks knows much less about the Ura than he does about Caelondia.

This last bit of knowledge, however, is more of an indictment of Rucks and Caelondia than any reflection on the Ura. In fact, very little of what we learn in the game paints the Caels in a more positive light than their neighbors. This is the primary point of difference between the colonial narrative in Bastion and similar ones in Colonization and Civilization – Bastion features a fairly heavy-handed critique of the imperialist paradigm. Nearly all of the setting’s conflicts were caused by the Caels – the Ura/Caelondian war began when a railway built by Caelondia disturbed several underground Ura cities, and Zulf’s attacks on the Bastion in the game’s present are his reaction to the game’s major plot twist. The twist in this case being that the Calamity was the result of a Caelondian doomsday weapon invented to wipe the Ura off the map backfiring on its creators. The nameless Caelondians who unleashed the calamity are the only characters in the story presented with no sympathy at all – the only one we even learn the name of was the man who attempted to sabotage the weapon to prevent its activation. Zulf is eventually revealed to be a tragic villain trying to get revenge on the people who took everything from him.

Bastion is, of course, a fantasy game. But that doesn’t mean the parallels it draws with the real world can be ignored. In this year especially, a story about a bunch of colonists who built a wall between themselves and their neighbors, and how badly things went for everyone involved, deserves some attention, even if the ideas it presents have been explored in other media.

Telling a Story that Matters

My previous two posts about Assassin’s Creed II focused on some of the narrative elements of the game that engage with the game player and develop an interactive environment. However, I wanted to look for an outside perspective on how the game develops its narrative. GB Burford describes in his article why he thinks the … Continue reading Telling a Story that Matters →

My previous two posts about Assassin’s Creed II focused on some of the narrative elements of the game that engage with the game player and develop an interactive environment. However, I wanted to look for an outside perspective on how the game develops its narrative. GB Burford describes in his article why he thinks the second installment of the Assassin’s Creed games is the best to play. He attributes it to the game’s ability to develop Ezio’s character through the dynamic narrative qualities similar to the ones I pointed out in my first blog post. He believes that the player’s investment in the narrative motivates players to take action. He states “I remember a time where I did things in Assassin’s creed because I wanted to, not because some map markers demanded action.”

Players slowly uncovers Ezio's narrative throughout the game. Players are not just encouraged to accomplish the next task because the game asks them to, but because they are invested in the narrative itself. — Players slowly uncovers Ezio’s narrative throughout the game. Players are not just encouraged to accomplish the next task because the game asks them to, but because they are invested in the narrative itself.

In many ways, I think a game can be successful if they can get the player to invest in the game in some way. Investment in the game keeps the player wanting to play and appreciating what the game does for them. Player’s find enjoyment in storylines where they feel rewarded for their accomplishments within the game. They are rewarded for their investment in the game when they advance the narrative, bringing the game’s character closer to the positive ending. In Assassin’s Creed II, by introducing Ezio’s family in an interactive way, the player becomes emotionally invested in the game when his family is killed to cover up a Templar conspiracy. Once the player is invested, they are no longer seeking out the map markers that demand action, but performing the tasks that they desire to complete. Other than dynamic narratives, good game mechanics, immersive environments and rewarding gameplay can also increase a player’s investment in a game. But overall, games should not be all about graphics, violence and ‘pushing the boundaries’ to sell the game, but game developers should focus on creating player’s investments. Players are attracted to games that pull them in. Sometimes, things that pull players in are confused with controversial social themes. If game developers were to direct their energy into increasing each player’s investment in the game through well developed narratives, rather than focusing on obscene material meant to sell the game, many of the controversial social issues that videogames reinforce could be eliminated from the games themselves.

Article Link:

http://kotaku.com/the-best-start-to-an-assassins-creed-game-1681820001

Image Source:

http://vignette2.wikia.nocookie.net/assassinscreed/images/7/79/Heirloom_2_v.png/revision/latest?cb=20121009195722

Race Relations in GTA 5’s Cinematic Introduction

As perhaps the most famous urban/street game, Grand Theft Auto is one of the most played and quoted game in our class (and across the country.) This game log marks my first experience with the Grand Theft Auto series. I found the introductory mission helpful in learning basic controls of the game, but I was surprised…

As perhaps the most famous urban/street game, Grand Theft Auto is one of the most played and quoted game in our class (and across the country.) This game log marks my first experience with the Grand Theft Auto series. I found the introductory mission helpful in learning basic controls of the game, but I was surprised when the mission ended and cut to a very cinematic introduction to the game. Complete with music, title cards, and crew credits, the intro could easy be that of a hollywood film, aside from the characteristically video game graphics.

The introduction follows Michael as he lurks in the shadows of his own funeral and, at some later point in time, attends a therapy session. The intro then follows Michael (our current protagonist) as he walks down the street along the beach in LA. From Michael’s therapy session the viewer gets the sense that he had a rough upbringing and is experiencing a sort of mid life crisis. He passes an older homeless black man (who has just been scolded by a police officer) stumbling around with an empty glass alcohol bottle and says to himself “I know just how you feel.”

Upon seeing this I wondered if Michael actually knows how the homeless man feels. Sure he had a rough upbringing and presumably came from a low income background, but Michael can now afford a nice suit and a therapist and is still much younger than the homeless man. Furthermore, Michael is white. Can he really know how a homeless black man feels after being yelled at by police? By saying he knows how the homeless man feels Michael denies his own privilege and erases the black man’s struggle. I think the developers’ selection of a black homeless man and a white cop, whether intentional or not, comes with many codes and connotations of race relations.

Michael then sits on a bench and two black men (later introduced as a playable character Franklin and friend/business partner Lamar) walk past. Lamar calls Michael homie and asks for directions to the Bertolt house. After sizing them up Michael replies sarcastically “No, homie, I cannot.” A few seconds pass before Michael stands up and calls the men back, saying “Actually, yeah,” he can give them directions. He points them to a house on the nearby row. I read Michael’s initial refusal to offer directions and use of the word “homie” as him profiling and mocking the black men. His tone suggests that they are not worth his time. When he does point them to a house, I believe it could be out of malice (perhaps the house was wrong and I have not yet uncovered that in my gameplay) or out of the same “sympathy” he felt for the homeless man.

Another scenario in a cinematic cut scene that highlights race relations occurs towards the beginning of the game when Franklin and Lamar arrive at Simeon’s auto shop for the first time. Franklin (the current player character) enters the shop as Simeon yells at a customer calling him a racist and a neo-nazi. Lamar yells at the customer asking “who you calling a n*****,” to which the white male customer replies “no no I’m not calling nobody a n******.” Lamar yells at the customer some more before Simeon concedes and says maybe he is not a racist, but that he “[doesn’t] think he is man enough for a car like this.” Simeon and Lamar continue to emasculate the customer, and as he turns to the side his neck tattoo comes into clear view.

It reads “Entitled” in large script.

Franklin leaves the shop before Lamar and Simeon swindle (or at least that seemed to me what was about to happen) the customer.

The player does not know exactly what was said between Simeon and the white customer, but his slip up with the n word and his large (possibly telling) tattoo don’t paint the customer too favorably. In the presence of the two black characters the customer does not act overtly racist (aside from his seemingly accidental use of the slur), but he easily could’ve changed his tune upon their arrival. Or perhaps Simeon made it all up as a way for Lamar to further emasculate the customer, making him even easier to deceive. It is clear though in this situation that the power is not in the white customer’s hands.

Within the first few missions and minutes of Grand Theft Auto 5 players have the opportunity to play both as white and black characters and experience situations where relations between races furthers the narrative. I am interested to see how the game progresses narratively and how themes of race continue to develop. As this is my first time playing GTA I am not sure how the characters I have written on fit together and whether or not they will reappear/ if some of the questions I am pondering will be answered.

For Melee, Forever (Ryan Rotella)

Game sequels are usually the inverse of movie sequels. Game sequels are generally better than their predecessor (with exceptions, of course) because game developers, at that point, usually have better and newer technology, better funding if the previous game was a success, and better familiarity with which mechanics work in a game and which don’t (thanks, consumer feedback). Moreover, players find it much more palatable that mechanics be familiar (especially if the first game was good) with refined controls, better graphics, and some slight tweaks/new gameplay elements. The focus on a game sequel is usually not eyeing surprise or newness like a movie sequel’s story and narrative structure (which can rarely be found to be reliable to the first movie but still fresh in its own right). In fact, gamers can prize familiarity more so than any other audience. This is most apparent in the Super Smash Bros. franchise, where Super Smash Bros. Melee reigns as the undisputed favorite of many Smash players.

Super Smash Bros. Melee was initially released in North America on Dec. 3, 2001, making it one of the first games for the Nintendo Gamecube. A good number of players and online commenters, such as professional Melee player William “Leffen” Hjelle, say that what drew them to Melee as children was “being able to play the well-known Nintendo characters in a game that’s a ton of fun to pick up” (Zacny). However, what has made Melee a popular 15 year phenomenon and retained the interest of these now grown-up players are the “well designed intricate mechanics were, and how much further you could push the limits of the game” (Zacny). In fact, a vibrant professional community has gathered around Melee because of these intricate mechanics in the game (and without the support of Nintendo) (Minotti). These mechanics include wave dashing (players can move horizontally while still able to perform moves), L-cancelling (stops momentum and helps characters take less damage), and chain grabs (multiple grabs performed in a row). These more advanced mechanics were the results of programming oversight on glitches in the game, which the Smash community has now taken to be another metagame for superior players. These more advanced mechanics along with game’s faster speed than other installments (which have been purposely made slower in later installments to include more casual players) make Melee the best candidate as a casual game turned hardcore. Advanced, rich gameplay mechanics with a shot of nostalgia has made Super Smash Bros. Melee the choice of many Smash players.

Some, like Kotaku’s Ben Bertoli, argue that the newest Super Smash Bros. for Wii U (or Super Smash Bros. 4) should dethrone Melee as the top Smash game (Bertoli). In terms of graphics, character roster, and overall accessibility (I have no idea where my GameCube or my Wii is anymore), I would agree. Smash 4 delivers a refined yet familiar experience to a game series that many (including myself) love and will continue to love for a good while. But, that almost doesn’t matter so much when comparing it to Melee. Melee will always hold a special place in many gamers’ hearts, and that’s an impressive feat in itself. Not many 15 year-old games can still hold weight in terms of fun (and not frustration) in light of game with much better technology and programming. The fact that people love Melee so much that it’s still relevant and preferred in competitive tournaments really cements how truly special and well-crafted (intentionally or otherwise) a game it is. Like a good old movie, Super Smash Bros. can be enjoyed as a not bad remake in Smash 4 or as a nostalgia-aged artifact in Melee.

Works Cited:

Bertoli, Ben. “Why Super Smash Bros. Wii U Deserves to Dethrone Melee.” Kotaku, 9 Apr 2015, http://kotaku.com/why-super-smash-bros-wii-u-deserves-to-dethrone-melee-1696512607. Accessed 21 Oct 2016.

Minotti, Mike. “How Super Smash Bros. Melee’s esports community keeps the fighter relevant 15 years after release.” VentureBeat, 16 Mar 2016, http://venturebeat.com/2016/03/16/how-super-smash-bros-melees-esports-community-keeps-the-fighter-relevant-15-years-after-release/. Accessed 21 Oct 2016.

Zacny, Rob. “Leffen on Why We Still Play Super Smash Bros. Melee.” Red Bull: eSports, 30 Aug 2016, http://www.redbull.com/us/en/esports/stories/1331815023939/leffen-why-we-play-smash-bros-melee-cultivation. Accessed 21 Oct 2016.

Dynamic Narrative Development in Assassin’s Creed II

Assassins Creed II develops two narratives throughout the game. Careful strategies aim to keep the player engaged in both narratives in different and interesting ways. One narrative is related to Desmond’s current situation at Abstergo and he must decode messages hidden throughout the Renaissance setting by “Subject 16”. Shaun Hastings and Rebecca Crane, two other Anumus Operators … Continue reading Dynamic Narrative Development in Assassin’s Creed II →

Assassins Creed II develops two narratives throughout the game. Careful strategies aim to keep the player engaged in both narratives in different and interesting ways. One narrative is related to Desmond’s current situation at Abstergo and he must decode messages hidden throughout the Renaissance setting by “Subject 16”. Shaun Hastings and Rebecca Crane, two other Anumus Operators provide information to Desmond developing this narrative while Ezio is in the Animus world. Ezio’s narrative from the Renaissance time period is developed through missions, video scenes and game tasks.

The purpose of some missions are for you to hear dialogue between characters that develop the narrative story as you perform tasks that are less valuable to the game plot.

Early on, Ezio’s narrative is developed through video narratives before shifting to actual gameplay. One of the missions involves running errands for Ezio’s mother. Along the way she discusses a treason trial that his father has evidence in support of. You learn about the plot of the story within a dialogue occurring during play. This separates itself from the typical dialogue occurring in video scenes that often dominate video game narratives. The narrative is also advanced through mission tasks. Specifically, there are missions that involve Ezio delivering messages for his father. Through the game’s tasks you develop the narrative by spying on and listening to conversations about corrupt officials, or by reading messages that you have been tasked to deliver.

assassins-creed-ii-large-614 — Game mission instructions direct the player to “Read the Letter.” The letter develops the game’s narrative plot and clues the player into the action of the story.

The multiple approaches to introducing the narrative in games can keep the player interested and engaged with the narrative. In some games I have played, like Metal Gear Solid 4, the narrative is exclusively introduced through video sequences. Many of the sequences I will skip after I lose interest in the narrative. Sometimes I just skip ahead to the game missions instead of sitting through another narrative video. Game developers should take different approaches to develop the narrative so that they also create multiple dimensions to the storyline. The player is required to piece together multiple elements of the narrative if there are introduced to the story in different ways. If they can learn through the games tasks and dialogue during the mission, players will be led to search for the narrative throughout the game and not just when the game cuts to the video narratives. In a way, game developers can keep players “on their toes.” Players should be seeking out the story instead of passively waiting for it to be introduced to them.

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