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:

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

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Anxiety is not cool, funny or fashionable

A charitable initative to encourage sufferers to knit a Christmas jumper signalling their condition is well-intentioned but way off the mark.

The other night, I had one of those teeth-falling-out dreams. I dreamt I was on a bus, and every time it stopped one of my teeth plunked effortlessly out of my skull. “Shit,” I said to myself, in the dream, “this is like one of those teeth-falling out dreams”. Because – without getting too Inception – even in its midst, I realised this style of anxiety dream is a huge cliché.

Were my subconscious a little more creative, maybe it would’ve concocted a situation where I was on a bus (sure, bus, why not?), feeling anxious (because I nearly always feel anxious) and I’m wearing a jumper with the word “ANXIOUS” scrawled across my tits, so I can no longer hyperventilate – in private — about having made a bad impression with the woman who just served me in Tesco. What if, in this jumper, those same men who tell women to “smile, love” start telling me to relax. What if I have to start explaining panic attacks, mid-panic attack? Thanks to mental health charity Anxiety UK, this more original take on the classic teeth-falling-out dream could become a reality. Last week, they introduced an awareness-raising Christmas “anxiety” jumper.

It’s difficult to slate anyone for doing something as objectively important as tackling the stigma around mental health problems. Then again, right now, I’m struggling to think of anything more anxiety-inducing than wearing any item of clothing that advertises my anxiety. Although I’m fully prepared to accept that I’m just not badass enough to wear such a thing. As someone whose personal style is “background lesbian”, the only words I want anywhere near my chest are “north” and “face”.  

It should probably be acknowledged that the anxiety jumper isn’t actually being sold ready to wear, but as a knitting pattern. The idea being that you make your own anxiety jumper, in whichever colours you find least/most stressful. I’m not going to go on about feeling “excluded” – as a non-knitter – from this campaign. At the same time, the “anxiety jumper” demographic is almost definitely twee middle class millennials who can/will knit.

Photo: Anxiety UK

Unintentionally, I’m sure, a jumper embellished with the word “anxious” touts an utterly debilitating condition as a trend. Much like, actually, the “anxiety club” jumper that was unanimously deemed awful earlier this year. Granted, the original anxiety jumper — we now live in a world with at least two anxiety jumpers — wasn’t charitable or ostensibly well intentioned. It had a rainbow on it. Which was either an astute, ironic comment on how un-rainbow-like  anxiety is or, more likely, a poorly judged non sequitur farted into existence by a bored designer. Maybe the same one who thought up the Urban Outfitters “depression” t-shirt of 2014.

From Zayn Malik to Oprah Winfrey, a growing number of celebrities are opening up about what may seem, to someone who has never struggled with anxiety, like the trendiest disorder of the decade. Anxiety, of course, isn’t trendy; it’s just incredibly common. As someone constantly reassured by the fact that, yes, millions of other people have (real life) panic meltdowns on public transport, I could hardly argue that we shouldn’t be discussing our personal experiences of anxiety. But you have to ask whether anyone would be comfortable wearing a jumper that said “schizophrenic” or “bulimic”. Anxiety, it has to be said, has a tendency – as one of the more “socially acceptable” mental illnesses — to steal the limelight.

But I hope we carry on talking anxiety. I’m not sure Movember actually gets us talking about prostates, but it puts them out there at least. If Christmas jumpers can do the same for the range of mental health issues under the “anxiety” umbrella, then move over, Rudolph.

Eleanor Margolis is a freelance journalist, whose "Lez Miserable" column appears weekly on the New Statesman website.