College Times

As a movie writer, I can't really help applying the same standards to the video games that I play. A good story line with a healthy amount of twists, characters I can understand no matter how far fetched the situation might be, and a message that inspires emotion that underlies the entire game. I still dig game mechanics, camera movement, controls and playability, but the more movie-like aspects help sell me on a particular game.

It explains why I love the "Metal Gear" series and why I'm excited for the applications of today's gaming technology. In a world where my Sony PSP is more powerful than the computer I owned five years ago, today's consoles have the ability to deliver the immersive experience that is just as cinematic as film.

However, to me, the film quality of games is beginning to drop off. I think this is because of online play. The same way I accuse Hollywood studios of being lazy for not creating original films and remakes or sequels instead, I am seeing game developers shelve original concepts in favor of online bells and whistles. It was announced that the new "Metal Gear" would also support online play.

It makes sense - since you don't even need friends to enjoy a particular multiplayer game when you can play against people from across the globe - but a sub par game can skimp on story, characters and original when it builds an online battle world that sells the game. ("Halo" for example.)

I mean, is there a story behind "Warcraft?"

Unfortunately, there are those who see the concept of what's could be interactive films as a bad idea because sticking to a narrative in a game is counter to the open ended nature of video games today. The theory behind video games, like movies, is to forget that it's a video game and get completely immersed in the gameplay. If you're charged with directing the character's actions by the game (Press A, for example) or forced to watched too many in-game animations that forward the story, that fourth wall in gaming is broken.

It seems, the best way to do these games is the choose-your-own-adventure types, which have met with mixed success. "Night Trap" and most of the Sega CD lineup is a good example of failure. "Dragon's Lair" is a good example of controlling a main character within a game while still being limited to the narrative that was created. As far as taking control of the world, the "Grand Theft Auto" games enjoy open-endedness, and take their inspiration directly from the movies while "God of War" and lesser known titles like "flow" support a strong story or a unique concept.

The best example of what I consider to be a cinematic game is 2005's "Indigo Prophecy." It had great characters, a compelling story, despite a crappy third act, and was completely interactive. If I wanted to make my character play guitar or drink himself to suicide, I could. From the mundane to the fantastic, I had complete control over the character, but was directed by the game to follow the storyline and finish the game because I was compelled by the script.

This demo clip below sums up what I see as lacking in the game world. It's from "Heavy Rain," a game, created by the developer's behind "Indigo Prophecy," is supposedly coming out at the end of this year.

The demo is meant to be an example of the motion capture technology used here. Little nuances like skin texture and depth perception are the high points, but what strikes me the most is the acting and the drama. I don't care that this clip isn't even in the game, but if I could find more like it, I probably wouldn't have had cause to write this blog. Give it some time, since the clip takes awhile to build up.

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