So many video games seem to have the same type of protagonist – or at least as the "default" protagonist design. White, straight, cisgendered male in his thirties with dark hair, a "rugged" feature, and questionable character. We see it again and again in some of the most popular titles. The Last of Us, Bioshock Infinite, Mad Max, The Order, even Mass Effect when it comes to their default version of Male!Commander Shepard. I know diversity is a bit of a hot-button issue in many different fields right now, but how could the video game industry change the standard? It's not like every single game can have a create-a-character sytem.
That's certainly one component that the industry glosses over at times, although I feel as though most popular titles grow within their own molds, to say. You can easily examine Call of Duty and other mainstream games, there's clearly a lack of diversity in every concept of an original game, including the protagonist physique.
Honestly, it's usually up to the independent (Indie) developers of the gaming community to rectify that, as most of those companies crank products in mere interest of reaping treasures. There are a great many small titles that grind against the grain, and are amazing in their own right. But for the big names, unless a widespread consumer whiplash shakes those groups, they will stick with their typical formula, almost every time. – N.D. Storlid9 years ago
Even beyond the topic of diversity, when games have the same protagonist mold over and over again, it becomes an issue of creativity and lazy writing. For example, the rugged middle-aged white male is a popular protagonist choice in the survival horror genre because it fits into the 'gritty' atmosphere. It's almost too easy to create that protagonist for that environment, and it would be interesting to see how writers could fit a completely different character archetype in. Ellie was a much loved character in The Last of Us (probably a lot more than the protagonist) because she was younger and more upbeat, and the writers worked to fit her into the environment. It takes a lot more effort to include a character that breaks the mold, but they are generally appreciated far more. – Grace Maich9 years ago
Why are Nintendo games so hard to replicate? Smash Bros, in particular, seems to have created and monopolized an entire genre. With a game that performs so well commercially and critically it's hard to believe that there aren't a ton of pretenders, maybe even a couple that enrich the formula! What attempts have been made? Why don't they work? And what is Nintendo's secret sauce?
I think it's a little ironic this topic would come up since the new game Rivals of Aether just went out on early access yesterday. It's a game which is simple, pixel style and replicates Smash Melee greatly. There is a great uproar over it, everyone is excited and are giving positive feedback. Though some try to call it a rip off because it seems more simplistic in style and number of playable characters, Rivals of Aether has added more mechanics to the game, bringing more to competitive play options. As time goes on maybe this article could follow it's success or failure to live up to Smash's standards. – Slaidey9 years ago
Something that really helps nintendo is the amount of polish they put into every major game they make. They have incredible amounts of detail to each game to make it better for the player. Sometomes they have to sacrifice something to get that polish (usually graphics and resolution) but they always make up for it in other ways (artstyle and consistant running speed) – Cojo9 years ago
Most video games tend to fall somewhere in between genres, rather than belonging to one strict genre. However, sometimes games will combine two starkly contrasting genres, and that can create an experience which can be exciting but may also sometimes feel forced.
One example is the Persona series, which is part dungeon crawling RPG and part dating-sim style socialization, and ended up being wildly popular despite the unusual concept. What process do game creators need to go through to create a successful game that heavily mixes genres?
A phenomenon is happening in game industry. We are demanding more and more games that gives us more freedom and possibility of choice – such as the Telltale games -, in which we can alter the storyline based on our choices. We are criticizing games that lead us through a path we can't change. The Wolf Among Us is a game that evidenciates this need to choose, we go under the skin of an authority (Bigby) and face difficult choices the entire game that could change the course of the destiny of an entire community that is under our protection, and our relationship with it. We are demanding to be put against the wall and feel the weight of responsibility over our shoulders. What does it say about our society? Are we striving to connect so bad with others that we want to feel our every action can set off a chain reaction that affects us all? Or are you only become so individualistic that we want to feel in control of all of our experiences?
I think the driving factor of these games is that we get to choose the driection we take our character in so many different ways, whether it's simply a narrative decision (ie if we kill a character or not) or building the personality of a character through the dialogue options. We are essentially given authority within these games and it is reflective of making our own choices in real life.
Even so we are still only given a restriced amount of options throughout these games. There are four preset doialogue options (one of which is usually "...") and when we do have a really huge decision to make only two options are mostly given. We don't really get that much control over these characters when you look at the bigger picture, they just so happen to be the protagonist of The Wolf Among Us or The Walking Dead.
Finally, Heavy Rain would be an excellent game to look at for this subject because there are 20+ different game endings, one of which being that every playable character can die, hence our failings have consequences in this game. – Jamie White9 years ago
Until Dawn is so far the best representation of the "choose your own story" type of game. Your decisions leave the most impact and can greatly change the outcome of the story. The Wolf Among Us had a few consequences, to the story and how other characters behave toward you, but not so much. Dragon Age allowed choices in dialogue, but besides one major plot altering choice, there weren't much consequences either. Players may crave for more choices because they want to be more involved and lost in the gameplay. When you make a decision, and see the later consequence, and thus develop a reaction because of it, you've lost yourself to the story and you've ultimately have become emotionally invested in the characters. – Jmarie9 years ago
[Telltale Walking Dead Spoilers] I'm have mixed feelings towards Telltale's story driven games. I'm drawn into these games because it lets us build our own world. If we feel like our decisions have weight, we become more absorbed into the story. I was drawn to The Walking Dead because I knew that my choices had consequences. It makes moments even more moving when you feel that you were a part of it. Unfortunately, Telltale more often then not gives you the illusion of choice instead of the real thing. If you choose save a character because you see something in them (like a shot at redemption for Ben in TWD, or hope for recovery for Sarah in S2) then you feel betrayed by the game when in the next act they're killed out of your control. I don't believe it has to do anything with isolation or individualism, instead more about us wanting control over our games. – Aaron9 years ago
In the age of 3D, high-voltage, intense action-packed games, Ori and the Blind Forest stands out for its simplicity. The stunning (but mainly 2D) graphics and a Disney-ish approach to storytelling make this simple game fun. So what makes it so beautiful and exciting? Analyze the strengths of Ori and the Blind Forest.
This game brings a simplicity that we've lost nowadays. We valorize an important visual over a good story that connects us to the game we're playing (for example Bioshock Infinite, with stunning graphics but dull storyline and repetitive quests). Also, the atmosphere the games create involves a very urban and modern characterization. Ori really innovated by bringing to a modern experience (the consoles) a comfort and simplicity inspired on the tales of the "Good Mother Nature", that really stands against the aura of destruction that permeates modern games. Ori proposes that we construct instead of shoot everything to the ground, and in a certain way makes us calm and relaxed, because the graphics are cute and comfortable and the storyline is beautiful. The painting this game produces is different from what we've been seeing and maybe it would be interesting if you searched if that line of thought for games already existed (and wich games fit into it) and if it's going to be developed. – Samuel239 years ago
Now that video-games have adopted more Hollywood screenwriters to give their work a more immersive and story-driven experience, which games do you believe not only have the best story, but utilize it to the medium's full potential?
If I had to pick one, I would say the 2011 version of The Stanley Parable.
What are your picks?
Lost Odyssey and Mass Effect both have good writing worthy of any story. Greatly enjoyed these games, especially Lost Odyssey as a story that reveals the past of the mysterious main character in forms of short stories, and the fact that you can keep the main character mysterious really shows the talent of the writers. It's not an easy thing to do. – SpectreWriter10 years ago
While not entirely an original idea, The Last of Us's post-apocalyptic narrative was incredibly character driven and made me care for Joel and Ellie more than I have ever cared for any character in a video game. What makes the game so great is its numerous twists and turns that leave the player on the edge unable to guess what will happen next. – cdenomme9610 years ago
I feel Rockstar produces great games (they're known for the Grand Theft Auto series). Though some of their games have garnered a lot of controversy and criticism for misogyny and violence, I think the way they incorporate critical themes and satire into the character's dialogue is very fluid. The games feel like interactive/playable movies to an extent, and character development is really strong (as they're not just typical one dimensional stock characters). – Kim10 years ago
For both it's story and manner in which it is told, I must make mention of Valiant Hearts. More narrative than video game this could become the next generation of the old tired history textbook. If an article were to look at strong story content I would also recommend speaking to the manners in which story can engage it's audience, and the play it has on a game and its mechanics. – ApeX10 years ago
Avalon: The Legend Lives takes the crown for me. As a text based game its writing is its lifeblood and Avalon has some of the most evocative, creative text I've ever seen. Here are a few examples: The final blood-curdling cry conspires with your dramatic stigmata and the weakened form of Bugfrei Zand. The song's coda is a conflagration: Bugfrei Zand raised momentarily by the power of your song, shaking dangerously, unconsciously, helplessly with each rising note. And then he shatters in a torrent of unspeakable body-parts inside and out. Dead; the Bard's final word. Light is blotted out across the land and the very firmament grows black as pitch. The only sight visible is Cornelius, the all-consuming opening his divine arms - wide enough to encompass the world - as He pours forth his faer-essence, gathering an incandescent sphere of pure immortal might. Cornelius turns to Tyranis, god of war, the fulgent globe raised aloft.... Your eyes are filled, all of a sudden, with a burning red light and you feel your skeleton knit together within your ghostly form. Still enveloped in the deep magic of the resurrection you open your blurring eyes to catch the last shreds of skin grow back onto your regenerated flesh. You are whole again; but once resurrected a second conflagration is set in motion: the phoenix rebirth. The rubies of your opalescent spectrum grow enflamed, the crucible of your life-giving reaction sprouting firewings dripping white-hot waterfalls about the location. The phoenix-fire wings spread to their fullest extent, describing an arc above the entire locale raining fire and terror on all sentient witnesses to your magnificent return to life. There's something about good MUD writing that really gets under my skin and makes my pulse race.
– Elsalvador10 years ago
This is great because you can examine the more film-centric approach to story telling that a lot of games have done recently, and extremely well, like The Witcher 3, or take a look/contrast it with more immersive story telling where you're very much a part of the world and uncovering the "secrets" and "story" as you progress: Bloodborne, Dark Souls 1 & 2, Demon's Souls. I've been thinking about this kinda topic for a while so I might dive in in a little bit... – edwinhenry9 years ago
After playing "Metroid Prime 2" I was hooked on possible ideas for a film. It has so much potential, especially in the realm of "Alien". While many games have a amazing stories, several are perfect in videogame format (especially ones with multiple endings and choices, like Dragon Age). I am however, often inspired by the atmosphere of games, they suggest a bigger story that could be told effectively in a film, much like Metroid which while having story is more of just going and completing tasks rather than an in-depth tale, so my point is that it's not always story that could make for a great film adaption of a videogame. – smartstooge9 years ago
The best story I've seen in a game lately is the one in Dust: The Elysian Tale. It's a very rich story and has an adorable Nimbat character guiding and tagging along with the main hero, Dust. The game revolves around stopping the general's forces and also involves Dust regaining his memory as at the beginning he forgets who he was. – AdamThePhantump9 years ago
Thomas Was Alone is a really good example of the writing complimenting the gameplay. Because of the voiceover, you actually care for these little blocks that move about. – FJHockey9 years ago
I second The Witcher 3. It's got a really good, well written story, utilizes all it's game mechanics fully, and it's probably one of the few games where I don't feel like I'm doing busy work. – Helmet9 years ago
Compare the pros and cons of exclusives and the effect of exclusives on gaming. Exclusives may promote a console, but it also alienates gamers who do not have a certain console. Also, look at the effect of time exclusives, as well as third party exclusives. Should exclusives be limited to new IP's, such as 'The Last Of Us', or already established series? 'Rise of the Tomb Raider' got a lot of negative feedback when it was first announced as an Xbox One exclusive (now known to be a timed exclusive) since the rebooted 'Tomb Raider' was already established on PC and PlayStation consoles.
Are exclusives a hindrance to gaming, a benefit, or both?
When it comes to exclusives, often promoting their own system is the idea. But at the same time too, if every game was available for every system, most people would just port it to the PC. That's often a common criticism of most Xbox games since its microsoft. Another possible point to bring up its just the cynical attitude of console exclusives to such extremes. One perfect example I can think of is that one person actually petitioned Nintendo to bring Smash Bros 3DS to the PS Vita because they didn't want to play it on an "inferior" console. I am NOT kidding. So for me, maybe talk about how the complaints can be very one sided given today's high expectations of game availability. – Ryan Walsh9 years ago
This may slightly branch off from your topic, but one other idea to look into when looking at exclusives is content in videogames reserved for specific systems. Much like how Microsoft bought timed exclusivity for Microsoft or PlayStation bought permanent exclusivity with Street Fighter V, companies like to make deals with developers to have content playable only on their systems to encourage gamers to pick their consoles. On another note more close to your topic, it might also be important to look at how many original IPs are being made compared to old franchises. Most developers prefer to continue existing franchises (Gears of War, Halo, Uncharted, Mario, etc.) rather than create new ones, which also makes companies bank on the success of previous successes to continue to bring back gamers to their systems. – Seth Childers9 years ago
Mentioning the Resident Evil games and realism in the same sentence may seem strange, but when compared to other zombie apocalypse fiction, they are, in a sense, remarkably grounded. Other famous zombie works, from Night of the Living Dead to World War Z make the unfounded assumption that a slow-moving, unintelligent horde of creatures who can only spread their infection by biting, can easily overcome a modern military, a supposition that has little basis in fact. Even the very premise of the zombie horde itself does not hold up under scrutiny, as the means of infection would realistically confine a majority of outbreaks to the local level, something no apocalyptic scenario wants to acknowledge.
The Resident Evil games are different. All outbreaks are local, and occur not through random chance, but through human error and/or deliberate malfeasance, with the virus itself being a bioweapon. Said outbreaks are contained, with varying degrees of ease, by either special forces units, or more general military action, despite the fact that the zombies are reinforced by a veritable army of other bioweapons. The largest chunk of real estate ever lost to the undead consists of a single city, doomed by bad luck and a perfect storm of local corruption and federal attempts at a cover-up–and even then, the damage is quite easily contained.
This article would examine this aspect of the Resident Evil games, exploring why it takes such a radically different approach from a majority of zombie fiction, and looking at the degree to which this is a more realistic scenario than that depicted across the genre as a whole.
