backIn October Sega launched its new 128-bit ‘Dreamcast’ console in Australia after selling over a million units in 2 scant months overseas. Not to be outdone, Nintendo and Sony have both announced new systems, pitched (as they always are) as more powerful than their predecessors, capable of dragging twice as much eye candy around your TV screen at twice the speed in half the time. It is doubtful whether this alone will entice reluctant gamers into the fold or convince anybody that games are a serious artistic rival to books or cinema.
The potentially revolutionary aspect of these new systems is hidden in the way their manufacturers (especially Sony) are describing them. If the hype is to be believed, we are on the threshold of a new entertainment age. Sony is calling the processor at the heart of its new system a ‘motion Engine.’ That might be a ridiculous moniker for an inanimate hunk of metal and plastic, but it marks a fundamental shift in the way games are approached by developers and the way consumers are willing to accept them.
But comparisons between video games and other arts are nothing new. In video game circles the term interactive movie has been an oxymoron for years. In the past, the outcome was invariably an unplayable series of set pieces interrupted by simplistic choices leading to fragmented (and badly acted) sequences involving B-grade actors and ex-porn stars. Games developers would benefit from dropping the movie tag altogether and following industry leaders like Square whose Final Fantasy series has long been pushing the boundaries in digital storytelling.
Progressive games developers are already beginning to look for ways to tell better stories and communicate ideas in a non-linear fashion. Game levels are being replaced by game environments, single task orientated goals are being fleshed out with multiple side quests which (in the best examples) actually affect the main storyline depending on what angle the player chooses. New software titles coming soon for the discerning player include Vampire: The Masquerade from Nihilistic Software which allows one player to change the game on the fly, throwing enemies, puzzles and situations into the path of other players at will. Or the recently announced Republic from Elixir which boasts a million unique characters and an infinite polygon engine in its simulation of (wait for it) an entire Eastern European country. If that doesn’t impress you, remember that the game’s detail level is rock solid right down to individual flower petals and autumn leaves.
Whether either game turns out to be any good doesn’t matter right now. What is worth focusing on is how markedly different their approach to software development is to the practices of the past. These games exhibit traits more often associated with movies than entertainment software, providing immersive, story driven entertainment instead of attempting to graft a game onto a film like the interactive movies of yesteryear. Vampire aims to allow players to basically script their own adventure movie as it’s being enjoyed, wresting control away from formulaic computer AI and handing it back to the user. These are software tools more than games as they are traditionally understood, closer (in cinema terms) to a movie camera than a finished movie.
The major draw card for games is interactivity. The blockbusters of the new millennium offer all the visceral thrills of film and schlock novels and then some. If more developers follow the lead of companies like Nihilistic and Elixir (which seems likely) then the gaming community 10 years from now will be a very different place. Imagine being able to create scenarios instead of linear plot threads, world environments instead of single scenes. Imagine taking your friends through a custom designed adventure which you could manipulate to their tastes every time someone seemed bored. The possibilities are immense and their exploitation may eventually make games a serious artistic player.
But first things first. The second crucial ingredient in the equation following the types of games made, are how these software toys are delivered and used. Multiplayer games are the catch cry of the late 90s and Sega has recognised this by including a modem as standard with its new Dreamcast and allowing owners of its console access not only to other players around the world, but to email and net access through their TVs without an expensive PC.
On a very basic level this means more human contact. The PC online world is (at present) a frag fest of Quake death matches and Half-Life mods. Players run around a maze, players shoot each other, players start again. Not exactly advanced characterisation or emotional interaction. But other sites like Ultima On-Line offer at least a small step forward, allowing a reasonably detailed world for dedicated roleplayers to muck about in, filled with literally thousands of other human players and overseen by a simulated economy.
The combination of the 2, providing realistic and detailed environments with the ability to link to other human players in scenarios which offer more than the usual kill-or-be-killed mentality is where the potential to revolutionise entertainment lies. True virtual reality doesn’t need to strap a black plastic box to the top half of your head, it just has to allow you to interact with real people in a world which allows you to make different and realistic decisions.
Primary conclusion. Will this new game depth devour the arts as we know it? Of course not. If you need proof, notice that film did not kill books and TV did not kill film despite various doomsday prophecies. However it does mark the emergence of a new form which is in direct competition with mainstream media. Secondary conclusion. But is it the death of the Hollywood blockbuster and the schlock novel? You never know. How many times can your average 14 year old kid get excited at a larger, more realistically executed explosion? And how many times must Bruce Willis save the world before we can all sleep at night? Because personally I’m doing okay already.
This is the first column in a series on trash and pop culture by Alex Hutchinson.
Alex Hutchinson is a Melbourne based writer. His work has appeared in magazines like Overland, Siglo, Metro, Dialogue and RealTime. He was also runner-up in the HQ/Flamingo short story competition in 1998.
RealTime issue #34 Dec-Jan 1999 pg.
© Alex Hutchinson; for permission to reproduce apply to [email protected]
