Essay: Fascination of Videogames through Narratology & Ludology

Since the initial introduction of the videogame in the 1970’s, and its recuperation following the video game crash in 1983 [(2006) Wikipedia Video game crash of 1984)], the world’s preoccupation and obsession with computerised entertainment has dramatically intensified due to its development and the revolution of particular elements. Some of these elements include the visual and sound effects, the quality of the player-game interaction and also the depth of the narrative.
A recent development of two perspectives thoroughly examines the videogame; Ludology and Narratology. These theories can be used either as individual sources or in conjunction with each other to investigate the growing fascination the western culture has adopted with the videogame.

In a brief explanation, the study of Ludology, developed by Gonzalo Frasca in 2000, attempts to examine the game-specific dynamics of games, such as the relationship between rules, strategy and game outcomes (Children Spend More Time Playing Video Games than Watching TV, ‘Mental Health Resources’ 2006). In contrast to this, Narratology explores- as the name suggests- the narration of the videogame; that is the storyline, including all the characters and objects’ movements and limitations predetermined by the game designer. Although these theories clearly represent opposing objectives, both contain critical elements that contribute to the game’s playability and thus the player’s fascination with the videogame.

Conceivably the most noticeable method of communication the videogame has with the player is through the interface: the screen that depicts the virtual world. Hence, it is through both sight and sound that the game primarily interacts with the player, therefore heightening the empowerment these elements withhold, and validating the necessity of their dynamics to be engaging and stimulating in order to successfully interact with the player.

Some highly successful videogames, such as Tetris, depict an abstract environment, however it is the action-adventure/horror/sport/science-fiction oriented games that dominate the broad spectrum of videogame categories, which contrastingly are representative of pragmatic scenarios (Answers.com: Computer and Video game genres (2006)).
One of the distinctive (and pleasurable) features of a game…is the impression of realistic mobility and presence within (occupancy of) a fictional parallel world. (Darley, A 2000 p150) As this statement suggests, in order to maintain the players’ interest, it is crucial that the visual scenery and the movements that take place within the game are reflective of the natural world and comprise a direct relevance to the player.

Background objects and additional characters in videogames each have a deliberate purpose for placement within the scene; their presence may be a contribution to the application of and mounting tension, or simply a tool for justifying a character’s personality or situation. For example, the curvaceous yet masculine female action-figure Lara Croft, who stars in the videogame “Tomb Raider”, may carry on her body at any one time a gun (of varying types), backpack, knife, or key, alongside her combat boots, wetsuit or rock-climbing gear.

Each outfit and accompanying tool suggests her status as an outdoor, adventurous character likely to be confronted with a physical battle or problematic situation involving her surrounding environment. This environment however, is also calculatingly structured to complement Lara’s figure: the height of ledges is designed according to Lara’s ability to climb and jump; the length of underwater passages are adjusted to her ability to hold her breath; and so on (King, G & Krzywinska, T 2002 p163). Therefore, also existing in other videogames, the organic structures and costume apparel in Tomb Raider are utilised as key indicators to reveal Croft’s status and potential mission.

The realism of the fictional representational world of many videogames is created by the replication of common symbols and objects recognised amongst the western culture: the target audience to which the videogame is aimed. The universal theme of sex appeal is often incorporated into videogames, and is repeatedly achieved through the objectification of the protagonist (King, G & Krzywinska, T 2002 p175). Hence the effects of physically beautifying Lara Croft, and emphatically enhancing her womanly features to equal the western culture’s belief of the ideal woman, makes her character visually appealing to the player, and pertinent to the culture’s value systems (Egenfeldt-Nielsen, S & Smith, J. H. (2006)). The same applies for the relevancy of objects within the games’ setting: the placement of particular vegetation is analogous to that of its organic placement in the real world. Thus the artificial representatives of the organic structures can be identified by the player, which allows congruent rules to be applicable as would be in their natural existence.

Furthermore, the proportioning of objects and their structure such as buildings, vehicles and smaller objects are not only relevant to the context in which they’re placed, but also in respect to how they are depicted as a representative of their corresponding physical dimensions. If the game is to engage the player and immerse them into the games’ virtual scenery, the visual effects must not only be identifiable, but also believable. The use of sound can dramatically enhance the effects of this realism; either as a sound on its own such as background music, or as an audio commentary device for the visual images upon the interface of the videogame.

The reason sound design is important in videogames is quite simple: if a laser makes a pleasing, fizzing hum, and if an exploding enemy makes a particularly satisfying boom, then the game is just more fun to play. (Poole, Stephen 2000 p67) This ‘fun’ aspect is, in likeness to the visual effects, derived from the realistic perception of the game. The connection the player can make through audio effects, for example an explosion which directly suggests danger or a bomb, stimulates emotions of fear and panic and consequentially amplifies the life-like experience of the game. It is this release of human emotion that strengthens the authenticity of the situation and allows for greater interaction between the player and the virtual world. Furthermore, the inclusion of physical involvement with the videogame, combined with the audio and visual effects allows for an even deeper level of interaction between the player and the game.

Alternate input devices, such as the steering wheel and the gun, have been developed to complement their respective game genres, in replacement to the universal control-pad. The steering wheel, often connected to acceleration and brake pedals, is a replication of a real vehicle’s steering wheel, and is used to manoeuvre the protagonist’s vehicle across the screen. Additionally, vibrations are released through the wheel in response to the vehicle contacting with other obstacles in the virtual world. Hence, this specific device is used to imitate the required physical movements of driving an actual vehicle, and is responsive to the player’s performance with the consequential vibrations.
Another replacement to the control-pad for many war-orientated games is the gun: the player uses this device to participate in the necessary motions of aiming, shooting and reloading throughout the game. The variation of equipment that controls videogames in their respective genres, as well as the relevancy of each device’s required method of use, contributes to improve the sense of realism and hence the player-game interaction within videogames.

The physical participation, along with the audio and visual effects of the interface, largely contributes to the overall realism experienced when playing the videogame. However, without a specific structure or purpose, the player may become disengaged and bored with the game; hence the necessity of a narrative.

Aside from the Ludological perspectives, the videogame can be viewed as a text through its narrative structure. Similar to other literary art forms, the technique of approaching the player through a first-person context is frequented within many videogames (Newman, J 2002). By initially addressing the player in a direct manner, the game captures their interest and personalises the situation, involving the player from the beginning. The content in which the game expresses in this initial introduction is often an insight into the back-story of the game.
The back-story is used to justify the situation in which the game takes place, generally revealing the setting, era and essential characters (Darley, A 2000 p150-151). It is also useful to reveal the purpose of the player’s role in the game; it can set up a clear motivation and goal for the player to accomplish.

However, in order to reach this goal, and win the videogame, there is often only one correct pathway the player may take, as many games are structured with only one possible pathway. This pathway is guided mainly by other characters and situations within the game, and is largely shaped by the games’ diegetic world; the on-screen depiction and narrative familiarised to the player through prior film and television exhibitions.

These characters that contribute to the outcome of the videogame can be categorised as; player-characters, of whom are controlled (within their predetermined limitations set by the game designer) by the player himself and; the computer-controlled incidental characters who are disguised as helpers, hinderers, beneficiaries, neutral characters, or narrators (Wolf, Mark J. P 2001 p98). Each of these characters, in their respective manner according to what their categorised name suggests, guide the player throughout the course of the game. However, as these characters’ movements have predetermined boundaries to which they are limited to, the player-game interaction is strictly limited.

Within many fight-orientated games for example, players can only perform specific fighting movements against opponents according to the combination of buttons pressed on the control pad that are acknowledged by the game. Also, they may only commit one move at a time; hence the player’s freedom to control the character is limited to the game’s programmed structure. Nevertheless, with the development of the multi-linear narrative (of which more than one pathway and outcome are made possible), the game allows for some freedom of personal choice, as the player can choose which pathway to take, and thus attempts to balance the restrictions created by the limiting of the characters’ movements.

The enthralment the world has, and continues to have, with the videogame has been examined through the Ludological and Narratological elements of the sound and visual effects, the physically responsive apparatus’ and also the profundity of the storyline. Each of these elements contributes individually and collectively to enhance the overall virtual experience of a videogame as it is this, their simulacral or so-called ‘virtual’ aspect- this dimension of incorporation in fabrication…which provides most of the fascination and fun (Darley, A. 2000 p166).

REFERENCES:
v Wikipedia (2006) Video game crash of 1984
http://en.wikipedia.org/wiki/Video_game_crash_of_1984 (Accessed 03 May 2006)
v ‘Mental Health Resources’ Article: Children Spend More Time Playing Video Games than Watching TV, (2006) http://mentalhealth.about.com/cs/familyresources/a/videotv404.htm (Accessed 20 April 2006)
v Egenfeldt-Nielsen, S & Smith, J. H. (2000) ‘Game Research: The Art, Business and Science of Computer Games’ Article: Computer Games, media and Interactivity
http://www.game-research.com/art_games_media.asp (Accessed 03 May 2006)

v Answers.com: Computer and Video game genres (2006)
http://www.answers.com/topic/computer-and-video-game-genres (Accessed 04 May 2006)
v Newman, J (2002) Games Studies-The Myth of the Ergodic Videogame: Some Thoughts on Player-Character Relationships in Videogames http://www.gamestudies.org/0102/newman/ (Accessed 28 April 2006)
v Wolf, Mark J. P (2001) The Medium of the Video Game, University of Texas, USA (p 98)
v Poole, Stephen (2000) Trigger Happy; Videogames and the Entertainment Revolution, Arcade Publishing, New York (p67)
v Darley, Andrew (2000) Digital and Visual Culture: Surface Play and Spectacle in New Media Genres Routledge, London (pp 66, 150, 151)
v King, Geoff & Krzywinska, Tanya (2002) Screen Play: Cinema/Videogames/Interfaces, Wallflower Press, London (pp163, 175)

BIBLIOGRAPHY

§ Smith, J H (2002) ‘Game Research: The Art, Business and Science of Computer Games’ Article: Computer Game Research 101-A brief Introduction to the Literature
http://www.game-research.com/art_computer_game_research.asp (Accessed 19 April 2006)

§ Rawlings, Tomas (2003) ‘Game Research: The Art, Business and Science of Computer Games’ Article: Narrative and Interactivity,.
http://www.game-research.com/art_narrative_and_interactivity.asp (Accessed 19 April 2006)

§ Egenfeldt-Nielsen, Simon & Smith, Jonas Heide (2000) ‘Game Research: The Art, Business and Science of Computer Games’ Article: Computer Games, media and Interactivity
http://www.game-research.com/art_games_media.asp (Accessed 03 May 2006)

§ ‘Mental Health Resources’ Article: Children Spend More Time Playing Video Games than Watching TV, (2006) http://mentalhealth.about.com/cs/familyresources/a/videotv404.htm (Accessed 20 April 2006)

§ Stewart Woods (2004) ‘The International Journal of Computer Game Research, Volume 4’, Loading the Dice: The Challenge of Serious Videogames
http://www.gamestudies.org/0401/woods/ (Accessed 20 April 2006)

§ Answers.com: Computer and Video game genres (2006) http://www.answers.com/topic/computer-and-video-game-genres (Accessed 04 May 2006)

§ Kennedy, H. W (2002) Game Studies- Lara Croft: Feminist Icon or Cyberbimbo? On the Limits of Textual Analysis http://www.gamestudies.org/0202/kennedy/ (Accessed 01 May 2006)

§ Manninen, Tony (2003) Games Studies- Interaction Forms and Communicative Actions in Multiplayer Games http://www.gamestudies.org/0301/manninen/#top (Accessed 01 May2006)

§ Newman, J (2002) Games Studies-The Myth of the Ergodic Videogame: Some Thoughts on Player-Character Relationships in Videogames http://www.gamestudies.org/0102/newman/ (Accessed 28 April 2006)

§ Darley, Andrew (2000) Digital and Visual Culture: Surface Play and Spectacle in New Media Genres Routledge, London
§ Poole, Stephen (2000) Trigger Happy; Videogames and the Entertainment Revolution, Arcade Publishing, New York
§ King, Geoff & Krzywinska, Tanya (2002) Screen Play: Cinema/Videogames/Interfaces, Wallflower Press, London
§ Coupland, Douglas (1998) Lara’s Book: Lara Croft and the Tomb Raider Phenomenon, Prima, USA
§ Wolf, Mark J. P (2001) The Medium of the Video Game, University of Texas, USA