The greatest stories ever played

Can video games combine strong narratives with actual play? Phil Hartup examines the contenders.

When Spec Ops: The Line appeared to a somewhat muted fanfare it didn’t look like much more than another Call of Duty wannabe in a third person view. At first it all feels like Gears of War reborn in a ruined Dubai, our hero dutifully shooting Islamic insurgents, presumably to stop them constructing some kind of Muslamic Ray Gun, shrugging off multiple gunshot wounds and exchanging cheerful banter with generic macho sidekicks. It is only once you get into the belly of the game that you start to realise that this is no ordinary story of good guys and bad rather that it is a subversive work of art not merely in terms of its content and narrative, but in how that narrative is delivered.

To summarise the plot of Spec Ops: The Line is not easy without spoiling it, and it really should not be spoiled, it should be experienced. Suffice it to say that it turns a run and gun action game into a painful descent into guilt and madness, at the same time examining the very nature of linear gaming. Spec Ops: The Line shatters the gaming trope that if you meekly kill everybody you are told to kill you can make everything right.

But here we come to the problem of Spec Ops: The Line, and it is one shared by almost every other game that has ever attempted to take a mature approach to storytelling: it is a game. When you choose to tell a traditionally structured story through a video game you need to make it, well, gamey. Games need something to do to stop them simply being a movie and this activity tends to be violent, which in turn can undermine the human elements. Max Payne 3 for example could have been a great story but for the body count. Heavy Rain tried to go in a different direction by turning elements of the story that were not violent into gameplay and this largely succeeded, but it hasn’t caught on. Too often a developer will reach for the small army of goons and have you shoot your way through them for no better reason than to delay the ending.

This problem is writ large in Spec Ops: The Line, where the very real emotional and psychological foundations of the tale are played out alongside cartoonish violence. There is a case to be made that Spec Ops: The Line is aware of that dichotomy and is toying with it, a satire of the Call of Duty military war-porn genre. But taking things to that level of analysis does little to mitigate the fact that while you are playing it and shooting your way through an entire US Army battalion, you get bored. You want the gunfire to stop and the story to start again. Challenge becomes chore and from a game design perspective this is a serious problem.

This flaw is inherent to linear gaming narratives. If the story is already set in stone then two symptoms develop in the game, firstly the actual act of playing the game becomes simply filler, busy work, to increase the run time of the game and secondly the story itself has to somehow acknowledge your actions during play in a credible sense. It is this last symptom that so cripples the story of Max Payne 3. Anything the plot has to say feels a bit like a footnote after you’ve cut a swathe through Sao Paulo like Godzilla on roller skates.

Thankfully not all games suffer this flaw. Skyrim benefits from the fact that not only does it have an open world; it also has an open story. There are linear quest chains in the game with pre-planned narratives but the degree of control in how you approach them is so complete that you can choose to not approach them at all. Don’t want to save the world? No biggie. Get married and build a little house in the mountains.

This ability to write your own story has been around almost as long as video games themselves. Elite for instance gave the player a spaceship, a laser, the ability to buy and sell goods and a populated galaxy to fly around in. It is also telling that The Sims has become one of the most popular game series in history by providing what basically amounts to a digital Lego set. Likewise, the phenomenon of Minecraft saw millions of eager gamers eschew a predetermined narrative for the simple joys of digging holes, building houses and getting chased around a procedurally generated world by exploding cacti. Every time you start a new game the story turns out differently.

If there is ever to be a truly great story in a video game perhaps this is where it will be born, in a dynamic sandbox environment, birthed out of the consequences and creativity of player actions rather than on the storyboard of a studio developer.

A screenshot from Spec Ops: The Line. Photograph: ryjek.net

Phil Hartup is a freelance journalist with an interest in video gaming and culture

Photo: Getty
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Empty highs: why throwaway plastic goes hand in hand with bankrupt consumerism

We are in the throes of a terrible addiction to stuff.

A University of California study revealed this week that mankind has produced more than nine billion tonnes of plastic since the 1950s, with almost all of it ending up in landfill or the ocean. With the terrible effects of our decades-long addiction to throwaway packaging becoming increasingly apparent, it’s clear that a fresh approach is needed.

In April 2010, David Cameron set out his vision for Britain in the Conservative Party’s manifesto. Keen to show that the Tories had turned away from the "I’m Alright Jack" individualism of the 1980s, Cameron sought to fashion a softer, more inclusive brand.

The good society, Cameron argued, embraced much higher levels of personal, professional, civic and corporate responsibility. There was such a thing as society, and we’d all do well to talk to our neighbours a bit more. The Big Society, however, was roundly derided as a smokescreen for an aggressive tightening of the Government purse strings. And on the advice of his 2015 election fixer Lynton Crosby, Cameron later dropped it in favour of well-worn lines about economic security and jobs.   

While most would argue that the Big Society failed to amount to much, Cameron was at least right about one thing. We are happiest when we are part of something bigger than ourselves. No matter how much the credit card companies try to convince us otherwise, mindless individualism won’t make us nearly as contented as we’re led to believe by big conglomerates.

By any measure, we are in the throes of a terrible addiction to stuff. As a nation, we have run up unsecured debts of more than £350bn, which works out at £13,000 per household. Fuelled by a toxic mix of readily available credit and interest rates at historic lows, we cripple ourselves financially to feel the empty high derived from acquiring yet more stuff.

Purchasing has become a leisure pursuit, ensuring the rate at which we acquire new stuff exceeds the rate at which we can find somewhere to put it. Burdened with ever increasing amounts of stuff, consumers are forced to outsource their storage. The UK didn’t have a self-storage industry 30 years ago, but now it is the largest in Europe.

With the personal debt mountain soaring, we’d all do well to realise that we will never have enough of something we don’t need.

The growth of rampant consumerism has coincided with an explosion in demand for single-use plastic. Like the superfluous possessions we acquire, throwaway plastic packaging helps satisfy our desire to get exactly what we want without having any thought for the long-term consequences. Plastic packaging is easy and convenient, but ultimately, will do us immense harm.

In 1950, close to 1.5 million tonnes of plastic was produced globally. Today, the figure stands at more than 320 million tonnes. The vast majority of our plastic waste either ends up in landfill or the ocean, and our failure to kick the plastic habit has put is in the ludicrous position where there is set to be more plastic than fish in global seas by 2050.

There is also growing evidence that our penchant for endless throwaway plastic might be storing up serious health problems for our children later down the line. According to a University of Ghent study published earlier this year, British seafood eaters risk ingesting up to 11,000 pieces of plastic each year. The report followed UN warnings last year that cancer-causing chemicals from plastic are becoming increasingly present in the food chain.

Something must give. Unsustainable as our reliance on fast credit to finance ever more stuff, our addiction to plastic packaging is storing up serious problems for future generations. The instant gratification society, high on the dopamine rush that fades so quickly after acquiring yet another material asset, is doomed unless decisive action is forthcoming.

So what is to be done? The 2016 US documentary Minimalism points to a smarter way forward. Minimalism follows the lives of ordinary people who have shunned the rat race in favour of a simpler life with less stuff and less stress. The most poignant bit of the film features ex-broker AJ Leon recounting how he chose to forgo the glamour and riches of Wall Street for a simpler life. After a meteoric rise to the top of his profession, Leon decided to jack it all in for a more fulfilling existence.

While challenging the view that to be a citizen is to be a consumer is easier said than done, there are small changes that we can enact today that will make a huge difference. We simply have no choice but to dramatically reduce the amount of plastic that we can consume. If we don’t, we may soon have to contend with the ocean being home to more plastic than fish.

Like plastic, our bloated consumer culture is a disaster waiting to happen. There must be a better way.

Sian Sutherland is co-founder of campaign group A Plastic Planet which is campaigning for a plastic free-aisle in supermarkets.

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