A Small Observation on Cinematic Storytelling in Video Games

I can tell you now this is not that short of an observation, but I think it's short in how expansive this could all really be written. Video games are not always a linear platform. They don't have the same rules and restrictions as cinema does, due to the combination of autonomy of movement with the player and the levels that are designed for them. That freedom is crucial in making the player understand the world or exposition the game is meant to be telling them on more than one occasion.

The issue I have with most games is that a lot of their exposition and worldbuilding is done through cutscenes that are incredibly obtuse and could be a lot more subtler. Either bits of dialogue or extended sequences create a world that feels more like a poorly produced play rather than a world I am living or playing through. In his GDC talk, Antony Johnston, writer of the Wasteland comics, the Alex Rider series and the first few Dead Space games, shows how important cutting unnecessary bits of dialogue and action is within the game Alan Wake.

I've always been a fan of "kill your darlings" in writing as more often than not it keeps a writer humble and self-aware with their writing. For example, I had a whole opening bit explaining why Bioshock Infinite is awesome and going into a good two paragraphs on how the first act sets things up properly...then I read Brendan Koegh's piece on it and realise he is smarter, articulate, older and better at writing about that than  I am and may ever be. So I decided to focus on Johnston and Alan Wake instead....for now.



Anyway back to Alan Wake and Antony Johnston explains that "it could be shorter" and proceeds to edit the opening cut scene from Alan Wake down to a five page comic strip. From there he cuts a full page out of the comic and removes any redundant or tautological lines and scenes. While I'm sure the writers of Alan Wake (Sam Lake and Mikko Rautalahti) had an issue with this, as a player it proceeds to cut down exposition time and gets me closer to actually playing the game.

Johnston also points out other advantages including less dev time, less voice recording time and obviously, the big kicker for some developers like Remedy, it costs less money. With Alan Wake, you are building a world that contains mystery, intrigue, a linear story that doesn't fit together...yet and the best way to do all this is to tease the player out and provide them with only what they need to start the game. You introduce Alan, what he does, what he likes, where he lives, where he's going, why he's there and you're set...but you can do it with subtlety.

Even without the cut scene, the first portion of the game is you literally playing through a nightmare, which is meant to set the tone of the game. Would this be better or worse without the cutscene? It'd be difficult to tell but it would start the player off with instant chaos and confusion which would adapt more to the themes and motif's commonly attributed to nightmares and dreams. In fact, the first lines in the cut scene is a quote from horror fiction author Stephen King (from an Entertainment Weekly article, oddly enough, about The Strangers and Modern Horror), which Alan directly reads...:

“Nightmares exist outside of logic, and there's little fun to be had in explanations; they're antithetical to the poetry of fear.” (King, 2008)

With the introduction of Alan, you have him awake on a barge heading to Bright Falls, his wife telling him he's just been having a nightmare then another full cutscene showing off a bit of Bright Falls. You then have a bit of time to actually walk around on the barge where you interact with your wife. There is a bit of fluffy dialogue between the two to establish their relationship.

The banter is witty, realistic but shortlived. You're meant to pose for a shot for Alice but then interrupted by local elderly radio DJ, Pat Maine who is a fan of Alan's work, Alan in turn asks him to leave him and his wife alone, but are given an introduction to a character, albiet shortlived. You then receive a call from Barry just establishing more that he's a writer. I think by this point we already get he's a writer since the first cutscene we hear Alan himself say "My name is Alan Wake. I'm a writer."

Told you....

It'd be a bit cooler if you got some of the exposition from her. Or maybe a map in the car, talk from other travellers, messages on your phone, notes in the car, maybe pre-signed books in the car, Barry could say why he's in Bright Falls, or his wife, maybe some plane tickets saying where he's from, baggage; there are so many diegetic items that could help tell the story and give the player some insight. It's the little things.

With all that being said, I am not 100% sure what development on the game was like and maybe playtesters responded negatively to the game's original style or story. Some interviews claim the game was originally going to be a Sandbox title but was then scrapped, since it interferred with some gameplay and story elements. The game's managing director, Matias Myllyrine, talking with Joystiq claimed that the game as a sandbox "didn't gel right" and that story was "tightly-paced:"

"I think the biggest issue with combining a thriller with a sandbox is, for a thriller, you want a heart-pounding thrill ride. You want to control the pacing. You want to have foreshadowing. You show the knife on the table, the camera pans away, the knife's gone. " (Kietzmann, 2010)

There are some very cinematic elements to the game and not just in cutscenes, but also in the use of certain camera techniques and how focus is needed to advance some of the storyline. In other games, it can be a nuisance when a camera's visual control is taken away and pointed toward the object in question. Other games give the player the autonomy to actually push a button or direct your head such as Portal 2, Bulletstorm and Bioshock Infinite.

That being said, some game developers can take some cues from cinema, especially when worldbuilding and creating importance through simple diegetic techniques and movements in the world. These can include things such as lighting, environmental elements, snippets of dialogue or small character head movements that don't completely jar the experience of the player. An example of this in cinema would be the use of longtakes or one-shots in film. These takes are uninterrupted shots which lead the viewer through a world and give us pieces of the story, characters and the environment that it takes place in.

Below I have outlined three films that handle their steadicam shots and how video games could (and do) use them effectively for creating a space for players to move through, learn about and some ways they can draw their players eye.

Example One.

The first example is from the film Boogie Nights written and directed by Paul Thomas Anderson. The film is set during the 70's and 80's and follow the work of a group of porn stars as they deal with trials and tribulations ultimately leading to absolute chaos. However, every thing starts off with a lot of bright futures and beginnings. The film begins with the song "Best of my Love" by The Emotions, it begins extradiegetic as the camera does a dutch roll and turns to see the club owned by Luis Guzmán's character, Maurice Rodriguez.


 The second we see Rodriguez, a man behind him opens the door into the club and the camera is lead inside. We now become apart of the world as a viewer. The camera turns to reveal who he greeting with open arms.

We reveal the Jack Horner (Burt Reynolds) and Amber Waves  (Julianne Moore). Rodriguez insists that he should "put him in one of his movies." So we learn from this encounter that Jack works in the film business of some kind. The camera then turns again as we reveal the club and the volume for the music increases. We are now in the world of Boogie Nights.



The music then switches from extradiegetic to completely diegetic as the music gets even louder and Jack and Amber move off to one side of the club. There is a bit of additional sound effects as we hear footsteps, drink clattering and movement around the club. The camera follows Rodriguez and we see the use of a spotlight being thrown around as he enters the rest of his club.


Rodriguez interacts with a few other notable characters. Introducing themselves to the audience with the camera in tow. We eventually pan around to see Jack and Amber discussing something in a booth. The camera pans again and we see RollerGirl (Heather Graham), the spotlight beaming behind her and following her as she approaches the table.

And finally the spotlight is used again, as well as slowing the footage to show off our protagonist Eddie Adams (Mark Wahlberg)

So from this scene that lasts no more than three minutes, we're introduced to half a dozen characters, their names, assumptions about what they do and who they are in this world, how important they are and also highlighting youthful and key players to the overall story.

Some games already use the spotlight technique strongly to emphasise things such as rewards and important plot points, but in terms of introductions they can be spotty at best. The introductions have to show where each character, even the protagonist,how they work and how they fit into the world. However, some games, such as Deus Ex Human Revolution, have this down-pat. (Video should start at 3:40)

Sure, there is a cut-scene at the beginning but walking through the labs in the opening is a good example of giving a pace and exposition to the proceedings. There is a lot of interesting character work and animation as Dr. Reid, as characters interact with her, we learn of her hierarchy in the system and her importance. Characters are also aware of their environment more. One scientist asking for new equipment watches where he's going as he walks backwards while talking to Dr. Reid. Even though I'm not a fan of the game, I do have to give props where it's due.

Example Two.

Children of Men is an astounding film directed by Alfonso Cuaron. The film details the story of a world where procreation is no longer possible and a man who joins a former lover to save it. It was really difficult to find the scene in question without awful music being played over it, but this version which features the work of a student putting his own foley work and original music covers the basics. This one-take is actually one of many in the film that is astounding.


The film does have a few exposition problems but this sequence near the end of the filming is pure action story-telling at it's finest. It begins with Theo (Clive Owen) taking a pregnant woman, Kee (Clare Hope-Ashitey) out of one warzone and sadly into another. A gypsy woman is meant to be helping them but Kee is taken away by the rebel group, The Fishes. The sequence starts off with Theo and the gypsy running away from the battle. They duck into a small opening and Theo holds out his hand to tell her to stay. This looks as though he's telling the camera to stay as well, since we don't see her reaction.


Theo avoids some gun fire, some combatants die but we're not sure if they're on either his or the other side. This shows us that amongst the chaos Theo doesn't have a side. He's about to turn a corner, but hugs a wall...
The camera tilts to reveal a large building, a destroyed road, a bus and some animals all hanging out in the area ahead. People are running for shelter and the camera pans up briefly to see the large building. This is his goal.

Theo begins to head towards it, past a bus when he notices people coming this way.

They notice him too and he realises it's the former Fishes who have taken Kee. There's no dialogue, just a realisation and the gunman begins to run faster towards Theo. The plan changes as Theo ducks into the bus, while the Fish fire upon him.

Inside the bus, windows are shot out and a man is killed leaving a blood splatter on the lens. It stays there throughout the rest of the sequence.



Theo then exits the bus and runs across the road to hide behind a brick wall outside the building. Several men come out in surrender...

but are senselessly gundown.


More blood is added to the screen. We are not sure if they are enemy combatants but are treated as such. We see in the background that tanks are rolling in as well as troops begin to surround the building. With some hesitation and gunshots, Theo heads inside even amongst the hellish warfare. The goal is now clearer than ever. With the importance of the tanks and the firing from the building, he knows Kee must be inside.

Once inside Theo is at the bottom of the staircase, the camera pans up for a brief second as we see people begin ascending. He follows them and proceeds to find out where Kee is


The goal has shifted again as we understand where Theo needs to be in the simplest terms. The film then progresses with Theo meeting the remaining Fishes, slowly dying from military gunfire. I really suggest you jut watch the whole movie and I am incredibly sorry if I spoiled this sequence for you.

The importance of the sequence and how it can be appropriated for a video game is goal-seeking and exploration. Several shots in the film give examples of where Theo is going or wants to be going. However, he is often set back in minor ways and changes his objectives as the film continues. This makes the film feel dynamic without ever feeling staged or too linear. The chaos that ensues in the war zone and the ultimate resolution is one of triumph and worth. The cease fire sequence with the score just adds to the amazement of the scene, but of course, the long take is over and we have to resume to our regularly scheduled programming.

Games that strangely enough do this well is the Grand Theft Auto series. You are often given a straight forward mission but then a shift in the gameplay or interactions shift the game entirely. In the title, GTA3, the Last Requests mission gives a perfect example of how dynamic gameplay and storyline can shift the protagonists goals and aspirations without them even realising it. Obviously, minor spoilers ahead for the game Grand Theft Auto 3.
The level begins with you getting directions from Don Salvatore to go pick up a car next to Luigi's club. The Don claims it's covered in a former employers brains and you need to just pick it up. Simple as that, right? Well, we can look at the last mission from the Leone's as a full circle type ordeal. Luigi's club is one of the first landmarks you recognise in the game and returning to that place brings a sense of nostalgia. However, the rules have changed and clearly the family doesn't trust you any more than the guy with the missing grey matter "who couldn't make up his mind."

The level becomes dynamic as you receive paging message from the character Maria. She tells you the car is a trap and now your goals have shifted completely as she tells you to meet her under the Calihan bridge. The first time I played this as a teenager, I flipped out as I'd come to enjoy the Leone's missions and how they slowly brought you into the world of GTA, but now I felt betrayed.

Anyone else thinks he looks like a shaved Heihachi from the Tekken franchise? 

Once you finish the mission, you're on a new island and the stakes change completely as a whole new area means a new level of freedom. Also later in the game there is actually a mission to get revenge on the Leone family, so it all kinda works out.

Example Three.

Shaun of the Dead is an incredibly craft 2004 comedy-horror film by Edgar Wright. The film is about Shaun as he attempts to win back his girlfriend during a zombie apocalypse that takes over London. The film is masterfully handled with parallel sequences, well-written dialogue, characters and clever wordplay which makes the film enjoyable and always a great rewatch.

The sequence above uses Dramatic Irony as Shaun, post-hangover, goes to his local shop to get a Cornetto for him and his roommate Ed. The sequence plays on common horror movie tropes as well as the oblivious nature of Shaun as he wanders through his streets. This, however is juxtaposed with a sequence earlier in the film where Shaun makes the same trip with similar reactions.

This includes minor things such as the smashed in windshield of the car

A door left open....

The raised hand of the beggar (now zombie-beggar)

The jogger who is now running for his life.

To major things that Shaun simply doesn't notice, such as the bloody handprints on the fridge door

and on his return home the beggar has now come closer to the home. The reaction from Shaun is more apathetic replying "...I didn't even have enough for the fucking shop."

There are included diegetic sounds of a phone ringing, glass smashing and sirens in the background, but Shaun is completely focused on his singular trip from shop to home. The music begins to escalate and eventually climaxes when Shaun returns home and turns on the TV. Also it's the little things like the groom is picking up something in the first sequence and he is in Shaun's house a little later.

Filmmakers leave these little cues in for the audience and those rewatching it enjoy the film on multiple viewings, much like the replayability of certain games. Also the progression and repetition is necessary to show the status quo and then the escalating chaos as the film progresses. It's not always the same shape and will depend on the writer, structure and type of film, but most films do have the rise, fall and repetition to juxtapose certain sequences. Wright does this with a lot of his films and it's one of the main reasons I love him for it.

This example of Shaun of the Dead is a way of showing and engaging with change over time. Three game series do this fairly well is the Banjo Kazooie, Legend of Zelda (specifically Ocarina of Time for us nostalgic types) and the Fallout series (namely 3 and New Vegas, for us modern types). Both game series which are about choice and change in their respective world. The dynamic shifts of which are often trickle effects rather than simply catastrophic environmental shifts.

With Legend of Zelda: Ocarina of Time, we see the way Link has moved through different ages and the changes in the world since he left and when he returns. This could also be attributed to the multiple sequels (or legends, depending of your belief in the timeline or not) and prequels which paint Link and the characters in an ever-changing setting. This provides a realistic portrayal and a basic understanding of time, consistents and change.

To give a slightly offputting example, we can see the transition between Banjo Tooie and Banjo Kazooie: Nuts and Bolts. The setting and the gameplay is incredibly different but the opening of the game provides us with how the new Banjo and Kazooie fit in the old platforming world...which they really don't.

Jesus Christ...

I actually believe this is Rare's justification for changing the gameplay style with the updated title. The game provides a very meta-narrative example that these characters don't fit in that world anymore and that they need to go and do something different or shape themselves up. They even recreate some of the first level from the original Banjo Kazooie to make this even more apparent.

For a better example, you could equate the real world destruction of the Nevada landscape with how New Vegas portrays the new nuclear terrain or simply how different decisions in the game lead to the destruction and doom of some people over others. The Fallout series is about change and adapting to it, no matter what the choice. Sometimes this causes chaos in all sorts of ways, but overall it's a balance of how your character plays and progresses through the story.

Yep...balance.

I hope this has helped and provided some food for thought when regarding writing for video games and worldbuilding. If you think I'm in any way wrong (facts or otherwise), contradictory or just full of crap, please leave it in the comments and we can continue discussing it. Email is here and I'm @HarrisonTheFan on Twitter