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Features

Turning
a Linear Story into a Game: The Missing Link between Fiction and Interactive
Entertainment
The quest
for more cinematic games is turning into a huge commercial prospect. To
continue its development, the game industry needs to broaden its audience
to include new segments, like casual gamers and women who are not generally
attracted to current videogame offerings. Luring them requires gameplay
that takes its cues from what they already know: cinema and literature.
Many people
believe that games will never be able to tell a story the way a movie
or a novel does, largely because interactivity limits the control a scriptwriter
has over the story. This article argues that the games are very close
to recreating the experience of watching a movie and offers a few tips
for designing games that capture the look and feel of the cinema.
Creating a Cinematic
Experience
The defining
traits of fiction theme, characters, script and production
are well known. These traits are common to any fiction, whether a novel,
a play, or a motion picture. The idea of production might be most closely
related to the worlds of cinema and theater, but is also appropriate when
speaking of a book. A writer employs techniques such as the choice of
words, the styling of phrases and the structure of the narrative to unfold
a story. The same techniques employed by directors and screenwriters to
captivate the audience are perfectly adaptable to video games.
How can
games replicate the ambiance, the tension and the sustained pace of a
good piece of fiction? What's the missing link? It's production, coupled
with an appropriate game design.
Game developers
can borrow the film director's know-how to improve the choice of cameras,
the editing and in the end the overall credibility of the game's universe.
There are elements of game design that allow a fusion between gameplay
and movie-like content. Finally, game designers need to understand the
defining traits of fiction and how they can be adapted to a game.
The
Choice of Shots
Shots
are at the heart of producing any visual work. The choice of shots is
a way of bringing out what is important in the unfolding story. An encompassing
wide shot provides a good understanding of the environment or illustrates
a character's isolation. On the other hand, a close-up reinforces the
viewer's connection with the character and highlights a character's emotions.
A close-up also builds anxiety, as the viewer is unable to observe surrounding
developments. Some shots have specialized functions, such as using zooms
or traveling shots to portray motion.
Some shots
are not always suitable for gameplay. The challenge lies in reconciling
the player's comfort with movie-style cameras. There are three approaches
that can help reconcile shot control with player control:
- The player
briefly loses control of his character while the "director"
brings up a movie-like shot unsuitable for gameplay. For instance, if
a camera used to portray a section of the décor obstructs the
player from controlling the character, the software takes over and moves
the character automatically. The player is deprived of control for a
very short time, but enjoys superb camera position.
- Instead
of guiding the character, gameplay consists of issuing orders that the
character carries out on its own. The "how-to-win" technique
only requires correct tactical decisions. This approach has been successfully
tried in Shenmue. This way a game may employ movie techniques
never before used in games because actual control of the character is
not an issue.
- Where
the character's nimbleness is not a priority, the game may employ cameras
that would otherwise be impractical for gameplay. This technique is
used in Silent Hill. In the footpaths that open the game, the
player does nothing but advance the character. The cameras deployed
along the path provide a particularly permeating environment.
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Editing
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