Character Development in Games
The method by which a player learns about a game’s protagonist has evolved significantly. I’m not going to argue whether the central character is important to a game’s overall experience. It’s clear that Bioshock depends heavily on its characters while in Mario the figure itself is significantly removed from the gameplay.
Instead, I want to explore the varied ways in which a character takes shape and how recent games have incorporated new approaches towards character development that result in a more immersive experience.
Early Days
I remember getting a new game and cracking open the manual to find out what dicey situation the hero was in this time. A brief blurb was the extent of the back story before I ventured forth as the Doom Marine or the Galaga Pilot to vanquish whatever it was ‘they’ threw at me. That was a simpler time: if it moved, kill it.
This was a period marked by game mechanics taking center stage and the protagonist and antagonist being a generic insert that could be substituted out at the 11th hour without really changing the quality of the game. Would it really make a difference if you substituted out the Goomba for more of those turkey things? Probably not. Thankfully we’ve moved past that to …
Look on the face of your destruction and despair!
Lights, Camera, Action
The cutscene was either the best or the worst thing to ever happen to games. From the epic scenes in Final Fantasy VII to the feature length cut scenes of Metal Gear Solid 4, it has become the method of choice for developers to tell their story. Games have been increasingly influenced by cinema, and cutscenes are the easiest way to ensure the vision of the developer is realized on screen.
Their downside goes beyond the disjointed feel of the game as you jump in and out of the action. It’s bad enough that control is taken away from the player in these sequences, but the problem becomes egregious when you realize that 100% of the meat of the game occurs when you’re not playing. You mow down wave after wave of aliens and your reward is watching the next story segment, not playing it. You never actually do anything, you just watch. It doesn’t have to be like this …
Every action has an Equal and Opposite …
What do the Baldur’s Gate games, Half-Life 2 and Halo 3 have in common? They all exemplify the highest form of character development currently seen in games: exposition through reaction. By this I mean you learn the most about your character by how NPCs react, not from what they tell you. It is especially effective when reactions changes over the course of the game and you experience the growth in your character first hand.
In Baldur’s Gate you started as a powerless orphan with an as-yet unknown lineage who was regarded with disdain at every turn. As you gather the trappings of a hero at least the barkeeps and guards treat you as one might a heavily armed traveler. By the end of Throne of Bhaal you are as powerful as a god and even the mighty Elminster (think: Gandalf of The Forgotten Realms) admits he wouldn’t willingly cross you. It is a stark contrast to your first meeting with the character and gives you perspective on how far you have come.
In Half-Life 2, Gordon is no longer the simple PhD from the first game. He is now hailed as the Free Man and revered by Vortigaunts everywhere. The resistance fighters know you by sight despite never having met you before, and they are willing to give you aid and supplies without question. You are never told that you’re significant or powerful but you quickly get that impression.
I need your ammo, your supplies and ... yep, I'm going to need your pants. You wouldn't deny the Free Man, right?
In Halo 3, you play as Master Chief. You don’t have to be told you’re an unstoppable killing machine. The alien foes refer to you as ‘Demon’ and it is clear that they know they’re in trouble at your approach. While these games represent huge steps forward in terms of game storytelling sophistication, it’s disappointing that the most basic elements of filmmaking – show, not tell – are the most sophisticated elements of games.
Demon!
Where do we go from here?
While I’m not explicitly saying that the exposition by reaction method is the best way to flesh out a character, I believe it has generated the most compelling game experiences thus far. Where we go from here is tough to say. We’ve already explored a few routes such as dynamic choices dictating story, such as in Knights of the Old Republic. This overlaps with the route taken by the game Infamous: character development through wafer thin morality choices.
Last time I checked, red lightning = character development. Didn't you get the memo?
I hope whatever route we take creates characters that are as significant a step forward as Gordon Freeman was compared to the Doom Marine.
I’m interested in your thoughts on the matter. Hit up the comments!
