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I don’t have all the answers but I think we need to get talking about the problem.

Indeed, at the time film was anxiously trying to capitalise on adaptations of its interactive cousins with as much gusto as games themselves were cribbing. I studied the mechanics and theory of film for years on the cusp of the games industry overtaking it as the biggest entertainment industry in the world. It can impact our expectations and therefore enjoyment as players.įor my part, I’ve worked in film, as a journalist of film and games, and in games - for a title whose team proudly touted its cinematic credentials at every opportunity to titles that are utterly systemic and emergent - and plenty in between. In the multi-faceted, time-consuming and very expensive development pipeline, how we use it can have very real implications for how teams think and work. The screenplays of Blade Runner and Brazil are beautiful things, that conjure worlds from a real economy of expression, but frankly that has very little to do with infusing a non-linear mission system for a rogue-like with non-verbal lore and encouraging player agency.

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While many such books are full of wisdom about crafting commercially viable (and/or actually good) stories, they run the risk of misleading you. I see plenty of game-writers/designers asking about and buying books on narratology and screenplay writing. Those games are valid, but they also don’t have much in the way of story, which is at the heart of my analysis. We won’t have a Citizen Kane moment because a game can be called Genital Jousting or Goat Simulator and make lots of money, already, and that’s pretty incredible. Film is roughly analogous to theatre, and to some extent even literature (passive, linear, authorial), whereas videogames are active/interactive, frequently non-linear and often more interpretive or emergent than authorial. Videogames are a quantum shift, as anyone that’s grown up playing them knows.

Do we really need film critics rolling over and somehow admitting that yes, don’t worry, we the intellectual elite, do declare that gaming has had its Citizen Kane moment for us to feel better about our job, hobby, industry milieu? ‘Games have grown up! Take us seriously!’ has been a depressingly common cry of the past couple of years. This is the sort of thing I wrote entire dissertations on for my film & literature degree many moons ago, but a wildly simplified potted history: all creative mediums are judged skeptically upon their inception, and it’s not until the medium matures and inculcates its own nomenclature that it starts to be judged on its own merits. Or worse, they are compared to film, or worse still, they are placed in competition.Īnd it’s becoming increasingly apparent that such language is not only misleading but actively stultifying for our games and industry. Just as cinema trod carefully on the coat-tails of theatre, videogames and their commentators still often employ the language and the design paradigms of film.

Not the storytelling, not the business, not the language, and we need to wise up, fast.

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