Games

Crafting Linear Game Plots

A discussion of the various elements of a linear game narrative and how they come together.

The ongoing debate regarding the creation of non-linear, cutscene free stories in games is founded on a very interesting premise. Video games could, with the right technology, create a completely interactive story that changes in response to the player to create a unique play experience for every person. Games like Far Cry 2, STALKER, or Fallout 3 are all pushing the envelope for simulating unique and open stories. The problem is…back here in critic town we tend to do better when we talk about what we’ve played instead of speculating. So Godspeed developers, I anxiously await your return. Instead, why not talk a bit about linear games and the experiences they create? How does one develop a story in a good old fashioned Mom & Pop linear game? How does that compare to a game with unlimited possibilities?

Oddly, the best place to really start getting an idea of what a story-teller does in a linear game is to watch a writer convert a video game into a movie script. In an interview with Gamasutra, Jordan Mechner describes what it was like writing both the original Prince of Persia: Sands of Time and the process of making it into a screenplay. He explains that the game starts off with everyone becoming a zombie except two or three people. That’s a fantastic way to setup an acrobatic fighting game set in Persia. The problem is that for a movie this would get old very rapidly. Watching the Prince leap up yet another pillar and stab the hundredth zombie got old in the actual game, so it’s hard to imagine this working in a screenplay. To convert a game into a film you have to start adding other characters and new plot elements, and try to maintain the spirit of the game without telling a dull story. The writer’s first job, then, in a linear game is to create a fun environment or setting for the player to interact with. Yet countless linear games take place in epic fantasy settings, recreated real-life cities, or other fascinating scenarios. What makes Prince of Persia: Sands of Time stand out in so many people’s minds?

It stands out because it incorporates the dramatic and characterizing elements of a film in conjunction with this setting. Whereas the characters are the focus and the setting is secondary in a film, a linear game plot flip-flops those values. Conversation has a built-in connection with the game design, and must serve as the backdrop to the game instead of act like the main focus. Many of the game’s acrobatic puzzles involve Farah, the female love interest, as you both work together to get to the final tower. Sometimes she pulls the lever you need to keep moving and sometimes you have to press the block that helps her. All of the puzzles are linear in their solutions, but the dynamic process that gets you to the end often involves your character relying on Farah and vice-versa. There are many sections where her safety is in your hands during combat as well, further magnifying the relationship through the game design. Make no mistake, this is a tricky balance for a game to strike. Jonathon Blow notes how disingenuous this can become in a game such as Half-life 2, where the player sometimes just sees Alyx as a way to unlock doors. Kill X number of creatures, protect subject Y, and incorporate dialog is not as easy a formula as it sounds. What makes Prince of Persia work, in my opinion, is that the Prince begins to fall in love with Farah. He says so in his internal monologues while you crawl around the acrobatic puzzles. Since so much of linear video game stories involve role-play instead of player input, this important difference smooths out the harsher realities of the game design. I worry about Farah because the Prince is worried about her.

Another interesting take to linear plots in video games is to simply pause the rollercoaster for a few moments and ask the player what they think. Not in a literal question that affects the outcome of the plot in a meaningful way, but rather just to postulate a game design choice that induces some sort of reflection. JRPG’s are extremely good about this by providing dialogue options at key emotional moments in the game that induce reflection for the player. Do you want to go out on a date with Tifa or Aeris in Final Fantasy VII? When one of them asks you if you had a good time, do you say you wish you were with the other? None of this changes anything in terms of story, but it does create an interesting capacity for the video game to ask the player to reflect. If a film or book had a reader’s note that simply said, “Hey, think about this before continuing on” it would break up the flow of the experience. But video games can do this because they’re pausing to reflect on which direction they want things to move in. It’s all still very minor stuff in the grand scheme of the plot, but I think many players would take pause if the game asked them why they shot innocent civilians in that last level. Forcing them to say they don’t care is just as interesting a moment as having them engage emotionally.

Steve Gaynor comments in an essay on the merits of video games, “Video games excel at fostering the experience of being in a particular place via direct inhabitation of an autonomous agent.” To rephrase the comparison made at the start of this essay, is the game creating a virtual experience where I’m playing as myself or as someone else? That’s the difference between a linear plot and a non-linear one, one where I play as a character or where that character is me. If I’m playing as someone else, that means my game design and relationships have a logical limitation based on the character. The Prince is never, ever, going to stab Farah because he’s sick of her dying on him. The game design of a good linear story is able to engage the player because it explains the role they inhabit and makes them comfortable with the actions rather than thinking “I wanted to do it differently”. You worry about Farah because the character you play is worried about her. As David Cage earnestly explains in an interview with Gamasutra on his own linear adventure game, designers should not be so afraid of telling the player no. They’re roleplaying a character not of their own making and they should be willing to accept that this comes with certain limitations within the story. Perhaps the real key to making a linear game great is figuring out how to do that without the player being annoyed by the restrictions imposed. Instead, those restrictions are embraced as part of the story.

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

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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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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