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Pratchett: Cut-Scenes Still 'Important Tool', If Used Correctly
by Staff [PC, Console/PC]
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August 7, 2009
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Talking to Gamasutra as part of an in-depth interview, Mirror's Edge and Overlord writer Rhianna Pratchett has suggested that cut-scenes are still a great tool for game developers -- and "we shouldn't throw out the hammer just because we keep hitting our thumb with it."
When the writer for Heavenly Sword and Mirror's Edge -- who has also taken a larger narrative role in the development of the Overlord franchise -- was asked about the validity of cutscenes, she noted:
"There's no denying that given the fan-base of games like the Metal Gear Solid and Final Fantasy series, many gamers enjoy cutscenes, even incredibly loquacious and lengthy ones.
Whilst, personally, I'd rather a game wasn't turned into a wannabe movie, I believe there's still a place for artfully crafted, well timed and smartly paced cutscenes. Granted, the games that manage to do all three are fairly rare.
Putting interactivity aside for a moment, there's still a lot we can do to improve our linear storytelling. There are exceptions (there always are) but our strength in this regard is by no means across the board. It is improving though, title by title.
Cutscenes are still an important tool in our narrative toolbox, and we shouldn't throw out the hammer just because we keep hitting our thumb with it. We just have to learn how to wield it a little better."
Moving on, when quizzed about cutscenes vs. direct during-gameplay storytelling, and whether one is more or less effective (and, indeed whether they can coexist), Pratchett noted:
"They can coexist in the same game just fine. Most of the titles I've worked on have used a blend of narrative delivery techniques. The Overlord games use a lot of on-the-fly ambient and directional dialogue, as well as cutscenes.
However, more interactive cutscenes or, what I'd personally like to see, more context for limited/locked view points (like being frozen in ice in BioShock's Fort Frolic, or being held on the metal Citadel transport pods in Half-Life 2) is eminently desirable. But there are two problems inherent in that (actually there are probably loads, but these two shout the loudest to me.)
The first is, as I mentioned earlier, that interactive narrative has to be supported by a game's core level design structure. It can't just be slotted in. Developers need to adopt the mindset of thinking about narrative right at the start of a project. I think we're still a little way off from that.
The second issue is that there's simply no one-size-fits-all solution to this. Whilst BioShock, Portal and Half-Life 2 made undeniable progress in game storytelling, the interactive elements were composed in relatively small, closed-off and controlled spaces (again, with level design playing a large part.) This would certainly be hard to replicate in something like a large, open world RPG with lots of exterior locations, or a traditional strategy/adventure game.
I'm not denying that these are important steps, but they're still quite small ones, and not an instant and all-encompassing solution to the interactive versus non-interactive debate. However, I do think the ways in which the aforementioned games showcased the power of visual storytelling, in particular, has something to teach the industry as a whole."
You can now read the full Gamasutra interview with Pratchett, including a great more detail on her work on some of these notable titles, and her views on the state of game story and how we can improve it.
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One of the first games I ever played was called "Darkstone" and almost every time I went back to the base village I tossed a coin in the collection for the musicians so I could watch and listen to the song they played. It was the very first cut-scene I ever saw and was amazed that someone thought to put something like that into a game. Not a cut-scene per se, but close enough in my book as tossing the coin in triggered a machinima type cinematic.
I'm with Pratchett in that I'd like to see more real-time, interactive cutscenes. The entire Half Life 2 experience is easily one of the most immersive FPS experiences I've ever had primarily because of this. I remember the true-to-life feelings of excitement/fear I had at the beginning of one of the episodes (I can't remember which one) where you and Alyx get into an on old, run-down car so Dog can launch you across a huge gap into a building. Honestly, just sitting there on the couch I felt the exhilaration of a motion simulator. That is a feeling you can only get with true, effective immersion, and I personally cannot achieve THAT type of immersion simply watching a movie play back in the 3rd person.
She brings up an interesting point in that this type of a immersion is harder to replicate in a large, open-world RPG by design. However, I think Japanese RPGs in particular have the ability to enhance the immersion of some of their scripted event to create some truly exciting and interactive events you'd normally just be watching. I believe this because I remember an event in Final Fantasy VIII when it was discovered the Garden would come under attack. A defense was planned and executed. And while the event was mostly scripted and directed to be watched, there were instances where real-time player interaction was required. It was during these moments that I leaned forward towards the edge of my seat and my eyes grew wider as I truly felt, even for just those brief moments, I, the player, was truly a part of the exciting experience and not just a spectator.
It was one thing to watch Squall and Rinoa ballroom dance in beautiful FMV, if was another to actually take part and control Squall and they both jump down run through a myriad of explosions as their home was being attacked.
Personally I'm partial to the fully interactive Valve-school of scripted sequences... HALF-interactive cutscenes though are (with very few exceptions) incredibly annoying. Either go all interactive or FMV.
I'll watch any cut-scene you're in.
Yeah cut-scenes are pretty cool.
Dang.