Trigger Happy

discontinuous break between gameplaying, which still has no story to speak of, and watching, which bears all the narrative load. In general the player runs around fighting, solving puzzles and exploring new areas, and once a certain amount of gameplay is completed, he is rewarded with a narrative sequence that is set in stone by the designer. This alternation of cut-scenes and playable action delivers a very traditional kind of storytelling yoked rather arbitrarily to essential videogame challenges of dexterity and spatial thought.

Why “arbitrarily?” Well, it is as if you were reading a novel and forced by some jocund imp at the end of each chapter to win a game of table tennis before being allowed to get back to the story. Actually, with some games it’s worse than that: it’s the other way around. You really want a good, exciting game of Ping-Pong, but you have to read a chapter of some crashingly dull science-fantasy blockbuster every time you win a game. Where’s the fun in that?

How many roads must a man walk down . . .

Several videogames, however, are a little more sophisticated (in a purely narrative sense), in that they decide which FMV sequences to play at any particular time according to what the player has done so far. This

172

Page 170
Image 170
Magnavox Videogames and the Entertainment Revolution Trigger Happy manual How many roads must a man walk down