Narratives – Interactive Digital Narratives

Videogames as Literature

My Choice: Gone Home Videogames as Literature Videogames have the ability to create a setting, build up characters, and share deeply emotional stories. The only difference between a novel and a video game is that the video game is more interactive. Instead of envisioning a setting, the player can move around in it. The map in Gone … Continue reading “Videogames as Literature”

My Choice: Gone Home

Videogames as Literature

Videogames have the ability to create a setting, build up characters, and share deeply emotional stories. The only difference between a novel and a video game is that the video game is more interactive.

Instead of envisioning a setting, the player can move around in it. The map in Gone Home becomes more detailed the more you explore the house. The spatial element of this video game is impressive and it also syncs up with the storyline. How could the main character possibly know every detail of a house she’s never been in? Well, she doesn’t and it’s up to the player to fill in the gaps. The player literally builds the environment around her, which is something we’ve explored when talking about Portal. In Portal, the narrative architecture allows the player to become totally immersed in the experience by building a believable environment. Similarly, Gone Home creates a believable and incredibly detailed environment. The house is filled with 90s memorabilia, and each room had a distinct personality that allowed you to recognise it instantly. For example, Sam’s bedroom was obviously hers because she had posters and homework assignments left everywhere! The house is the only space the player can explore, but it is filled more enough information than the player needs.

Exploration is encouraged and the player can examine old cassettes, photographs, books, and letters that don’t have anything to do with the main storyline. These are used to build up the separate characters themselves and to develop the characters without anyone else having to be in the house. The letters are the most important pieces to understanding Sam and why she chose to leave, but there are plenty of other clues and story lines going on as well. For example, the mother and father are having difficulties with their marriage. The mother was possibly having an affair with another man, although nothing is truly proven. The parents left the house – the player later discovers – because they are on a marriage retreat. Besides that, the mother’s personality is shown through her letters, letters addressed to her by friends, and the various wildlife/wildfire knickknacks lying around the house. The player’s character is shown through the different trophies and various homework assignments scattered throughout the house, which all serve to highlight the difference between her and her sister. The father’s character is developed through the use of his books, letters written to him, and evidences of an early childhood in the house. Even the gift Lonnie sent Sam is kept in a closet, which makes Lonnie feel like a real person. All of these things may seem superfluous if this was just a game, but it’s not. This is a story about the lives of several different people. It’s the story about a family and the trials they face separately in their own hells and together as a family.

Final Journal Entry Transcript:

“Katie… I’m so sorry. That I can’t be there to see you in person. That I can’t tell you all this myself. But I hope, as you read this journal, and you think back… that you’ll understand why I had to do what I did. And that you won’t be sad, and you won’t hate me, and you’ll just know… that I am where I need to be.

I love you so much, Katie. I’ll see you again. Someday.

Love, Sam.”

This ending moved me to tears… the moment where it all comes together – when you realize why no one is home, who the voice on the phone was (Lonnie!), and why it’s called Gone Home.

Home is a place where you belong. For Sam, that was with Lonnie. For the parents, that was in each other, which is why they were trying so hard to save their marriage and confront their issues. For Katie (the main character), that’s literally going home and feeling at peace with what happened.

Uncle Oscar – Pedophile or Closeted Homosexual?

My Choice: Gone Home Uncle Oscar – Pedophile or Closeted Homosexual? Although Sam and Lonnie’s romance dominates the majority of the game, there is a darker narrative that goes under the radar. That’s understandable, because it is told with such subtlety that it never becomes the main focus. It’s the story about the relationship between Sam’s … Continue reading “Uncle Oscar – Pedophile or Closeted Homosexual?”

My Choice: Gone Home

Uncle Oscar – Pedophile or Closeted Homosexual?

Although Sam and Lonnie’s romance dominates the majority of the game, there is a darker narrative that goes under the radar. That’s understandable, because it is told with such subtlety that it never becomes the main focus. It’s the story about the relationship between Sam’s father, Terry, and his Uncle Oscar, the previous owner of the “Psycho house.”

Below are the two arguments I’ve set up using my own interpretation and the interpretation found on online sources explaining their relationship.

Theory: Oscar the Monster

In one of the hidden passages, there is a wall covered in markings that recorded Terry’s height as he grew up. Terry’s height stops being recorded when he reaches the age of twelve in 1963. In 1963, Oscar hosted a family Thanksgiving part in his home like he does every year. This year, however, was extremely significant because some unknown evil occurs.

Decades later, you enter Oscar’s old house and go exploring. There is a hidden safe in one of the secret passage ways next to a wall with markings that recorded your Dad’s height growing up.

The safe can only be opened if the code 1-9-6-3 is entered. Inside of the safe, amongst syringes and bottles of morphine, is a letter from Oscar to Terry’s mother expressing remorse, transgression, and a plea for forgiveness. Forgiveness for what?

In the cellar of the house, the light is broken. There in the bleak room, a child’s wooden toy horse can be found. It is the only object hidden in the dark alluding to a sinister childhood memory.

According to Austin Walker’s “Transgressions – You Can Do Better,” Terry grows up to become obsessed with the year 1963. “His book’s protagonist travels back to that time to prevent a tragedy. The Kennedy assassination occurred just days before Terry was coerced into the basement on Thanksgiving Day. It became the analogue for the abuse. Terry’s mother found out on that day and the torment ceased, but the repercussions hadn’t yet begun to take hold.”

Did Terry’s mother walk in on her brother abusing her son that fateful night? If so, a lot of pieces may fall into place. For one, it would explain the tension between Oscar and his distant father – who probably did not know how to deal with the situation. It would also explain the letter of remorse written to Terry’s mother that was found in the safe. Finally, it would explain why Terry became estranged from his own wife. Perhaps he still had not dealt with the past. Perhaps this is why he was so obsessed with going back in time and stopping it from happening. Maybe he was JFK.

Theory: Oscar the Cross-Dresser

The reason Sam tried to reach Oscar is because he was a closeted homosexual, much like herself, and she needed advice. Why would she try to hard to reach out to someone who hurt her father? Wouldn’t it make more sense that she reached out to someone who went through a similar experience and could give her advice?

The house has a sewing room filled with women’s clothing – perhaps Oscar cross dressed from time to time and Terry discovered his secret at the Thanksgiving party and revealed it to his parents. The 60s were a conservative period, and homosexuality was not seen in a positive light. Thus, Oscar was rejected by the family and labeled a “psycho.”

As an adult, Terry has a difficult time coming to terms with Sam’s sexuality. Is this because he was still attached to the negative stigmas of the 60s? Is it because he saw how sad Oscar’s life turned out in the end? Maybe his obsession with going back in time has to do with finding a way to stop his younger self from ruining his Uncle’s life? Was Oscar the real JFK and Terry the young spy who could save him? One could only speculate.

Conclusion

According to Steve Gaynor, Walker’s reconstruction of the story events “100% matches my blueprint. As far as I’m concerned it’s totally accurate to what I meant to put in the game, but other interpretations are completely valid.”

(http://www.quartertothree.com/fp/2013/08/21/qt3-games-podcast-gone-homecast-with-developer-steve-gaynor/)

Hold on.

So… Oscar did abuse Terry? Oscar was a monster?

I actually had to stop and put this blog away for a few days, because this made me rethink everything for one moment.

Why is something as serious as trauma, child abuse, and sexual abuse open to interpretation? If a writer intends on using this as a way to shape the narrative, then it must be clearly defined and shown. The fact that it is hidden and “open to interpretation” is problematic because it supports the idea that physical or sexual abuse is just a matter of interpretation. Terry’s perspective is completely left out of the picture, and we’re left with fragments of what might have happened or what could have happened. If it did happen, why not just be clear about it? I understand that this is a subtle storyline and that memories are hard to recreate, but this was an intentional piece of the game. Keeping it hidden does a huge disservice to people who have actually experienced abuse. Unfortunately, real-life survivors are often told that their misfortune is the result of a misunderstanding or that they merely remembered the event wrongly. The ambiguity surrounding the event that allegedly took place only serves to reassert the belief that abuse is a matter of interpretation.

Links:

https://imaginationisspicy.com/2013/09/09/gone-home-the-ghost-no-one-sees/

http://clockworkworlds.com/post/58411117679/the-transgression-you-can-do-better

http://indiehaven.com/the-darker story-of-gone-home/

https://steamcommunity.com/app/232430/discussions/2/864977472590701710/

Para… Normal.

My Choice: Gone Home Para…Normal (Reference to Young Frankenstein’s “Abby Normal”) Initially, Gone Home pulls the player in under the guise of a horror story. There is no backstory given beyond the fact that the player is returning home after a year abroad. The player learns that this is a new house that was labeled … Continue reading “Para… Normal.”

My Choice: Gone Home

Para…Normal (Reference to Young Frankenstein’s “Abby Normal”)

Initially, Gone Home pulls the player in under the guise of a horror story. There is no backstory given beyond the fact that the player is returning home after a year abroad. The player learns that this is a new house that was labeled the “crazy house,” but there is no explanation to why it is called that. Instead, the game opens on a stormy night in an unlit, empty, and mysterious mansion.

While playing Gone Home, the music and setting of the game made it seem as if something dreadful had happened. You must turn on the light in each room if you want to explore it. Sometimes, as in the case of the secret passages and the basement, light was not available. The music of the game made it very tense, and the ridiculously loud mix tapes gave the game a violent edge. The only soothing part of the game was Sam’s voice, which floated into the room every so often.

Did Sam kill herself? Was her mangled body hanging from the rafters of the ill-lit attic? Was Uncle Oscar’s ghost coming back to haunt you? These grisly thoughts kept me intrigued in the game and the curiosity pushed me forward.

Moving around in an unfamiliar environment alone and in the dark surrounded by angsty music seemed like the perfect recipe for a horror game. The ghost board games, ghost literature, and seance room made this game seem paranormal – I was expecting a ghost to pop up and chase me! I wasn’t the only one who thought it was a horror game. In fact, all of the friends I pushed this onto refused to finish the game because they kept expecting a jump scare. I was expecting a jump scare as well, however, the only scary part was how touching the end of the game was.

It’s not until the end that you realize this isn’t a story about ghosts. Instead, this is a coming-of-age queer love story. Not only that, but it’s a game that explores the lives of different members of a normal family. There’s nothing paranormal about it!

So why did Steve Gaynor, the creator of Gone Home, make it seem like a horror game?

This game reflects the burgeoning LGTBQ movement in the 1990s and does a great job capturing the general attitude towards LGBTQ members at the time. Nevertheless, who would want to play a game about the lives of two seemingly obscure characters? If the player were not a LGTBQ member, would he or she understand the experience? Would the player be able to relate to the character in a meaningful way?

Ultimately, the game revealed a character that was alone, misunderstood, and confused. This character, Sam, is someone a lot of people can relate to minus the LGBTQ issues. The horror elements were just tactics used to keep the player interested in the game, like I was. The true story was about Sam and how she found herself and got in touch with her sexuality, but you don’t realize that until the end. Keeping the main storyline undercover allowed this game to reach even more people since there was no stigma attached to it. It seemed like a regular horror game when in reality, it was a game about the silent hell that LGTBQ members experienced and continue to experience today.

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

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.

Image Sources:

“The Gun Is a Lie” -MIsHOS

While playing Portal an interesting thought came to mind. I have a tool which allows me to bend space-time, yet I can’t make a whole THROUGH a wall. That’s a pretty useless space-time-manipulation-tool if I’ve ever used one. But then another, even more interesting thought came to mind. That’s the point! It’s a useless tool. A lie. Just like the cake. However there’s one difference, the cake is a much more overt lie. The player is hardly fooled by the cake as incentive, especially since it’s a virtual cake which has no means of actually rewarding the player. The gun on the other hand is the obscure lie, the one we’re not supposed to notice, the one that’s meant to fool the player. Why it’s hard to notice the gun’s shortcomings is because unlike the cake, the gun is rewarding to the player. The gun is able to induce all sorts of good Ilinx and Agon feelings and its successful use is addicting. The player is awed and distracted by the gun’s pleasurable aspects that its confining nature remains subverted. Its confining nature being that its a tool that behaves in an entirely linear manner, within a set of rules, dictated by the authority of your circumstances, GLaDOS. This in turn spawned another interesting thought.

What if that’s the reason behind Portal’s widespread appeal? Its relatability, and more importantly its optimism (more on optimism in finale). Our lives are very linear in a number of ways, and in many circumstances we feel impotent and incapable of controlling aspects of our society, and even our own lives. We have our own tools which many times seem to act within the confines of the choices of a higher authority. A simple example (out of many) would be the illusion of choice in voting. It makes sense that due to the constant limitations we feel in our daily lives, that literally being put in a linear confined testing center, we don’t really feel too far from home. But more interestingly, is the optimistic aspect of Portal, which is what makes the entire experience a pleasure.

Chell is about to be incinerated, and the player must use their wits to escape imminent doom. The only available tool is as described earlier, good at bending time-space, but not so good at bending rules. However, with the now obvious realization that GLaDOS has cheated, the player can break rules as well. Grabbing life by the reins, the player is now liberated from rules, and the gun becomes actually useful to the player’s endeavor. In fact, only at this point of realization does the tool actually become the player’s, up until then, it was a tool of the system. Relating this back to the parallel to our own lives, only once a person becomes aware of their social limitations, are they actually able to break free from them. This awareness of one’s own circumstance and life is a necessary step for progress, and it is perfectly simulated in Portal, where the player uses their meta-awareness to save Chell’s life. For this reason, Portal is clearly not just a puzzle game, but a relatable experience with a (somewhat) happy ending.