Making a Start on
Topic Research | Part 1
I need to begin by compiling a list of
video games that I can research for my paper. I already have 2 games in mind to
do research blogs on and they are Limbo and Papo & Yo. These research
posts will follow. However I need a few
more games to back up my topic theme.
I start this epic search of by simply
typing in “metaphors in video games” into a search engine to see what I can
find. In doing so I discovered a blog named the Critical-Gaming Network
containing an article style blog post discussing metaphors in
gaming. The Critical-Gaming Network is written by an indie game
developer, among other talents, named Richard Hakem Terrell.
Split
into 3 separate posts, this informative blog article, titled “Metaphor Meaning Matriculation PT.[1, 2, 3, 4]”,
covers the basic aspects of what a metaphor is. The first way in
which Terrell tries to communicate this is by using a
sports video of a basketball player trying to make/stop a “slam dunk” moment.
The video shows a visual metaphor of what the basketball player must go
through in order to do this. It is supposed to be a method of
communicating a subject indirectly, using visual stimulus that represents the
core meaning of what the metaphor is trying to suggest.
Terrell goes onto using the Wikipedia
definition of a metaphor to begin his blog article. I think it will be helpful
for me to do so as well so that I have a definition to refer back to in my
research but also so that who ever is reading this can understand the premise
of a metaphor and how I intend to research how they are used within games for
my topic theme.
"In linguistics, meaning
is what the source or sender expresses, communicates, or conveys in their
message to the observer or receiver, and what the receiver infers from the
current context.
A metaphor is a literary figure of
speech that describes a subject by asserting that it is, on some point of
comparison, the same as another otherwise unrelated object. Metaphor is a type
of analogy and is closely related to other rhetorical figures of speech that
achieve their effects via association, comparison or resemblance...“
Terrell delves further into
the meaning and definition of metaphors in part 1 of his article, however, I
want to skip further to how he incorporates metaphors into games and study his association and relation between
the two. I kept reading through his
incredibly helpful and interesting article and I came across this beautifully
appropriate paragraph Terrell uses to describe how play can be used
to convey metaphors in game:
“Integrating metaphors and other
creative techniques with interactivity and gameplay presents entirely
new ways to draw comparisons. The curious fission that game designers
face stems from the half-real experience that is playing games. Interactivity
and the passive media elements creates two contrasting ways ideas are
communicated. This fission is so odd, so new, yet
familiar and simple, that many have a hard time understanding how video games
convey ideas through gameplay.”
This is an absolutely brilliant and
incredibly relevant quote for my topic theme. Terrell is discussing how play
can be used as a medium to convey creative metaphors. He talks about how game
designers use “curious fission” to stem their ideas of “half-real life”
experiences and source them into their games in terms of play and
narrative. This relates to my topic
theme/idea whereby I want to talk about how games as a medium can be used to
creatively express or document deeper stories often not obvious to the
audience; whether this is through metaphor of narrative or via direct alternate
meaning.
Another inspiring piece of writing
which is incredibly helpful for my research by Terrell:
“Because video games are
half-real figuring out how to balance the
conveyance of real ideas and fictional ideas presents problems that most other
mediums don't have. As I explained above, metaphors and other figures of speech
are great for conveying ideas by explaining what ideas are like, or more
broadly, by going beyond the literal meaning. So the question is,
is
it effective to create a metaphor to describe an experience the audience
literally experiences first hand?”
Terrell poses a question which is
closely associated with my topic asking; “is it effective to create a metaphor
to describe an experience the audience literally experiences first hand?. I
think if more games did use metaphors creatively to express ideas and themes
within games via play then we would have deeper experiences and relationships
with games. I think large reason metaphors aren’t used
in an obvious manner within major release games are due to the fear or
underestimation of the audience playing the game and how well that metaphor
would be received; if at all. Having said this, I strongly agree that
metaphors are a creative mechanism to express a deeper narrative or meaning via
play in video games.
“Many abstractions
in video games, in this case simplified interactive video game systems, are
like metaphors bringing into sharp focus a
comparison between the real player and the fictional game. Experiencing these
abstractions is like listening to a voice that says, "you know this
feeling that you have as you try to work through this puzzle, well that feeling
is many ways is like the experience that the wizard is having in the
fantasy world on the screen." In this way, even the most basic video game
abstractions can work as metaphors.”
Terrell is stating that abstractions
within play through the medium of video games are trying to bring a
focus on the comparison between the emotions of the player compared to that of
the in game character. He argues that the way a game pushes the player through
(consider procedural rhetoric) and how the player is forced to feel emotionally
is similar to that of the character and that this can be considered a metaphor.
Video Game Metaphor
Example - Journey [PS3] - WARNING! SPOILERS!
I think I write about Journey in
absolutely every contextual studies project that I do but that’s because it’s
many interpretations lead me to exciting analytical conclusions! And this time
it’s no different. I am going to briefly (and I mean briefly, this topic could
let me waffle on for pages and pages…) talk about the metaphor in Journey, how
and/or why it could be interpreted this way and how this relates to my topic.
Firstly, I must explain the reason
Journey is perfect for my study. Journey was always advertised as an abstract
art game known more for it’s visual style and basic gameplay. Like with any
abstract piece of art, there is always room for alternate meanings and
interpretations to story; but has this ever been properly done in a game? I
believe Journey is one of few games that actually combine art and play; and in
doing so create deeper stories for the audience to interpret as they play. To
fresh eyes, this trailer doesn’t really give anything away. There’s no direct
storyline, no dialogue, no narrative hints; there is only play and suggestion.
That is what Journey is, it’s a giant metaphorical suggestion of a much deeper
story and narrative which the player can only interpret through play and this
is why it is perfect for my study.
To keep this brief I will only talk
about and refer to one of the many (and I mean MANY) articles I found
professionally written about the true meaning behind Journey. I plan to pick
out helpful and relative quotes so that I can elaborate on them and possibly
use them in my written piece. The article can be found here <<
The first thing to point out from the
article, written by Lewis Denby, is how he states that “there are lots of theories” as to the real
meaning of the game Journey. He says that its down to the design of the game
that forces this curious nature into the audience to try and find conclusion
and meaning. Denby describes Journey as “a silent movie without any captions,
and one in which the action on-screen is always faintly abstract, otherworldly
and expressive”. In other words, the game has never throws the narrative
in the players face, it is dependant on the discretion of the player and how
they experience the game as to whether or not they develop a theory behind the
story of the game.
Denby interestingly writes about theory
that his friend developed concerning what Journey is really about, one which I
hadn’t even heard before but is incredibly interesting.
“I even had a discussion with a friend
recently who was absolutely certain that Journey is a game about the nine
months between conception and birth: he thought the ducking and diving fabric
creatures represented sperm cells, the occasional enemies were threats of
miscarriage, and the mountain - with that gaping opening at its peak - was the
game's enormous vagina..”
The very fact that someone would take
that interpretation from an abstract game is powerful, it proves how games and
play can be used to narrate real life concerns through play. I mean, you
wouldn’t play a game like Call of Duty and come to that conclusion from the
narrative, right?
To start with, Denby talks about the
only obvious narrative that is suggested upon the player; but even that is left
up to the players discretion to attach meaning and theory too! As you can see
in this video, Journey has cutscenes. These cutscenes do suggest a vauge narrative through
suggestive art in a seemingly hieroglyphic style. The memorials are vague and
there’s no dialogue; these cut scenes are left entirely up to the player in
order to dicipher; if you just appreciate the art or
style you can completely miss the concept of the videos which is the games only
attempt to directly inform the player of any story behind the game.
“The most obvious of
Journey's strands is the story of a civilisation, one that was
built up from nothing but ultimately collapsed, leaving the starkly
ruined landscape you see before you. This story is the one told
in the abstractly animated cut scenes that bookend each
chapter - the beautiful mural that scratches and paints itself as you watch,
its symbols slowly growing into something more recognisable.
Why did this civilisation grow so
huge, and why did it ultimately fail? These answers prove more elusive. We see
what appears to be electricity flowing through a city's veins, and it seems to
be brought to its knees by explosive blasts. There
are hints at scientific advancement, and of war, which would make perfect sense
given the content explored in the rest of the game.”
Denby’s last point about war and
scientific advancements are thoughts that he has created through his own
interpretation of the game. Suddenly this stunning art game turns into a
metaphor for a war upon society and how that universe dealt with the reprocussions.
The next point he makes is on religion
and how that can affect the deeper story behind the game. He suggests that the
game symbolises the “joyous rapture” of a person that ultimately
results in death which is symbolised in the ending of the game where you are
forced to witness the death of yourself after a religious life. However “Journey shakes
things up, and the game turns out to not end with your death, but witness your
incredible reincarnation” which is metaphorically visualised by
the player seeing their reincarnated body rise and return to the beginning of
the game where you began your Journey in the first place as if you were born
again.
Another take Denby discusses is the
scientific perspective the game has. Denby says “It's about species
adapting to their environment, growing and changing, gaining new abilities as
they fight for survival. This is the case with your own character - you begin
the game without the ability to jump, and the distance you may do so develops
over time, allowing you to rise to Journey's challenges.” This is a metaphor
for how science has progressed in aid of civilisation and how we grow and adapt
to it.
Lastly, Denby touches upon the most
commonly used interpretation of Journey, which is that it’s a game depicting
the story of life and how we, without trying to sound overly cheesy, make our
journey through it.
I will be honest, this is my
interpretation of the game too. Those small monuments you see dotted around the
game? I believe they are grave stones of those who sadly didn’t make it to
their ultimate goal which is visually represented by the mountain and light.
We are constantly working towards that
goal, whether its just to the end of a hard working day or just looking forward
to the weekend or growing old; that mountain and light represent these moments
in life and growing up trying to achieve the goals we set ourselves.
The gameplay in Journey presents hasards and tasks which are
supposed to be metaphorical of the struggles we might encounter on our own
journey through life. Denby’s points that back up my theory include:
“So, while it's a game about evolution,
it's also a game about simply growing up. You don't understand Journey's world
when you first arrive in it. You learn by experimenting, by playing, and with
the gentle guidance of others whom you don't always fully understand.”
“most significantly, about
the inevitability that life will follow its own path. Of course Journey's
society fell: it was inhabited by living, sentient beings, with all the flaws
that come with such an existence. But along the way it birthed culture, and
belief, and wonderful technology, the remnants of which you can see scattered
around the retrospective showcase you experience as you jump, slide and glide
your way through the game.”
“Journey is an extraordinary
achievement: a game about life and death, and a tale that's both personal and
vast in its scope. It's the story of existence, the enormous number of ways we
interpret our lives, and the ways in which we react to those beliefs. Not
bad for an hour-long game in which all you do is walk, jump and play.”
Ill finish on that last statement from
Denby. It’s true, through a game where all you do is walk, jump and play the
game communicates themes which are incredibly reminiscent of real life subject
matter. Journey is a perfect example of how games as a medium can be used to
communicate themes, ideas, narrative and story that you just don’t see in video
games every often.
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