Games

Enhancing Narrative Delivery

A fleshing out of the current state of narrative in video games.

From www.the-feral-cats.blogspot

The relationship between plot and video games has always been an awkward one. Almost every single game out today can be isolated from its story and explained in terms of its design or vice-versa. I can tell you the plot of GTA IV without referencing the game design once. I can also explain a Mario game without mentioning the Princess. The game design doesn’t need the plot to be fun or engaging and the plot certainly doesn’t need interactivity screwing around with its authorial nature. Yet there are a huge variety of games that try to make it work, everything from arcade shooters, board games, simulations and narrative heavy adventure games that propose a wide variety of ideas on how a game’s plot should work with its design. The theory of how to connect the two sides of the experience, narrative and design, is something that is unique for each game. What are some ways to keep the design and plot working together?

From www.howstuffworks.com

When you are combining design and narrative the first thing you have to accept is that both mediums, which can stand alone, are going to have to sacrifice key elements. A plot in a video game does not have a narrative arc. You can’t control the pace of the story and thus you can’t control how the narrative is progressing. The player might get lost, quit the game, go collect random items, or just be trying to get a high score at that particular moment. A game design, once you combine it with a plot, is no longer a dynamic process. Certain elements of the game are going to be set in stone no matter what the player says or does. To give the classic argument, the plot of a football game is dynamic. Anything could potentially happen within the confines of the process. Once you insert a plot, certain things are always going to be present. This football player is always going to have this reaction to a play, this coach is always going to say this particular thing at half-time under certain conditions. Whether it’s a highly linear game or an emergent narrative with lots of vignettes scattered around a world, the plot of a game can at best only be altered a finite number of ways. An essay by Jim Bizzochi argues that the distinction with games comes from identifying what types of immersion they are creating. One type of immersion is the ‘suspension of disbelief’, which requires a narrative arc because you have to tightly pace and control what the viewer is seeing for it to happen. The essay goes on to outline several other forms of immersion, such as “challenge-based immersion” from a game design or “imaginative immersion” from a plot. The trick is that once you combine the two you have to start aiming for a different kind of immersion from the traditional ones like preventing disbelief.

Gears of War, Epic Games

Another essay from Bizzocchi and colleague Douglas Grant highlights the basic hybrid that plot and game design create when merged. You get a Joseph Campbell monomyth. The hero rises up, collects artifacts, overcomes challenges, and returns home to save the day. The characters and development cycle in these stories are convenient for the needs of the game design because they are typically static. An epic hero does not change, there is no real rebirth occurring. Instead they simply become more aware or informed about themselves. Achilles at the end of the Iliad is essentially the same person from the beginning. The events of the book do not personally change him. An epic poem or myth does not depend exclusively on a narrative arc since most portions of it can be read in any order assuming you’ll follow one of the shorter stories. Myths and legends are particularly ripe for conversion into video games because they also revolve around activities. You can explain a huge fight with a Cyclops or a sacred beast in a brawler easily enough. A different approach is to still adhere to this convention but instead develop a plot by having the game be about other characters. Nick Dinicola explains that in aGears of War 2 the main character of the game is actually Dom. Marcus is, like the player controlling him, mostly an observer. Far Cry 2 is essentially the story of the Jackal and his approach to violence in Third World countries. The solution of these games is to keep the player fully immersed in the game design while they observe a plot which, because they are not the focus, can be appreciated independently.

The Darkness, Starbreeze Studios

Yet it is possible to successfully merge narrative and game design so long as you are able to pace the two experiences in conjunction with one another. One of the greatest success stories of a game doing this is Starbreeze’s aThe Darkness. The opening of the game is pure shooting, giving the player a chance to engage and learn about the game design. The plot is fairly typical and easy to grasp with no major events until a little bit before the half-way marker. The point is that the developers know that the first thing the gamer is going to want is to play the game and they give that to them. When the tedium of shooting, collecting hearts, and other powers starts to grind is when they let the plot kick in. Once a player is fairly familiar with the game, they’re going to be more receptive to story because they don’t have to concentrate as much. The Darkness mixes plot and game design by also fleshing characters out with countless tiny vignettes that are snuck in at every chance. The protagonist, whose change is characterized by personal loss, is has numerous monologues while the game is loading. His condition is reflected in the design as a character dependent on a demon who is slowly taking control of him. The game’s real elegance doesn’t come from the clever plot or game design, it’s how they work together. When the game is really challenging, they don’t bother with story. When the game’s challenge is fairly easy, they let the characters and story have their time where so that they can be better appreciated.

From Immortal Defense

There are other techniques for merging the two mediums besides just pacing plot and game design together. You can just create a series of moments where the two reflect one another. Final Fantasy IV melds game design with narrative by having a key character betray your party. In the plot it’s a hurtful moment, in the game design you’re down a key member in the middle of a very difficult dungeon. Bioshock’s Little Sisters are a symbolic choice that represents the overarching narrative: in a perfect Ayn Rand society would you choose to be altruistic or selfish? Horror games like Silent Hill 2 or Eternal Darkness both rely on the player not knowing what to do and scaring them through a hostile game design. Games like Shadow of the Colossus or Ico rely on solitude and lack of plot to create a simple but powerful narrative. Some games create their design first and then deliver a static narrative that explores the symbolic and literal implications of constantly doing such an activity like the indie gem Immortal Defense. Combining the two means that new storytelling techniques must be developed that appreciate the strengths of both artistic mediums and does not let one or the other dominate.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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