You could look at the films and say they have been handled wrongly, and they have. It’s just not like they had a lot to work with to start off with. Come on, until Duke Nukem Forever the guy was thought of as one of the best video game characters. One of his best lines “I came here to kick ass and chew gum, and I’m all out of gum” is a straight lift from “Rowdy” Roddy Piper in They Live. When one of your best characters needs to take subtlety lessons from the male wrestling lead of Hell Comes to Frogtown, maybe we should admit that video games are in their infancy, storytelling wise.
Look at the birth of cinema; that started as a silent medium, which is why Sonic, Mario and Pacman still endure. Mario as the fat man that keeps falling down is funny. We all know that his Donkey Kong sprite was given a moustache because of the limited amount you could do with a small number of pixels, but in the Super Mario Brothers days, his look of shock as he bumped into a mushroom and then went up before falling off the screen is pure Oliver Hardy. In fact, playing the Mario Brothers mini game in Super Mario 3, more amusement was had in the slapstick of jumping off Luigi’s head than in anything else. The Chain Chomp is pure angry dog slapstick… even the angry sun in Mario 3 has links to George Méliès Le Voyage Dans La Lune and SunnyVoyage. Hell, even in the Sonic games, the ‘dum, dum’ of death is almost like a comic ‘Wah, wah, way”. By the time you get to Sonic 2, a whole stream of amusement comes from the fact that Tails seems desperate to commit suicide at any opportunity. Even the central idea behind Pac Man, where the underdog turns round and has revenge on his pursuers is not a million miles away from Chaplin… and Angry Birds is not far away from the world of Buster Keaton either.
In the modern age, the most successful characters also seem to be mute. Master Chief and Chell don’t say a word, but their narratives are some of the most compelling of the modern era. They’re also both immersive first person games, where you can more readily identify with the main character because you’re not being someone else. Technically, Halo ODST was right up there with the rest of the Halo series, and in terms of acting talent, it had Nathan Frickin’ Fillion in it but it felt less of an immersive experience than the mute experience of Master Chief and the well realised dialogue of the Arbiter and Cortana.
On the other part of things, we have Chell. In the Portal commentaries, it’s been spoken about how Chell was going to say one word at the end, but it was scrapped. Another interesting thing is that they played around with the idea of GLaDOS (and Wheatley) talking during the tests, but found that too distracting. Rather than cut scenes, there was exposition away from the action, and humour not something that wrenched you away from the immersive experience. I want to get into the story of games, but even I find myself pressing the skip button through cut scenes where it’s available (by the way, with the silent Atlas and Peabody, the Laurel and Hardy thing has been done very well too). The video games that people went to to prove to Roger Ebert that video games could be an art form were Shadow of the Colossus and Ico, guess what… silent protagonists.
The main problem with video games characters is the ‘Mary Sue’ factor. In fan fiction a ‘Mary Sue’ character (named after a Star Trek short story) is a character who is just too good at everything. They don’t have any real flaws, and they tend to be the best at everything they put their minds to. That’s the whole basis for a load of characters these days, a single soldier destined to take on armies, or galaxies of armies. In the first game, Duke Nukem was an ironic take on the already outdated 80’s musclebound stereotype, in the remake he just became that stereotype, so perfect at everything that even his own ego could heal his wounds! One of the nice narrative surprises (Spoiler Alert) is that your character gets killed during the Airport Hostage mission… it would be better if you cared about the character at all. You can have someone that is exceptional, but they can’t be the best. That’s not interesting. No matter how cool Boba Fett is, he would suck as the main character in a film. Even Han Solo wouldn’t be that great, he’s great as a side character, or as part of an ensemble but you need to start with your everyman, your simple farm boy. You need fallibility, and you need a character arc. The best realised video game character so far, probably Nathan Drake in the Uncharted series. He trusts the wrong people, goes after the wrong girl, falls off things and you love him the more because of it. But we need to do better than someone just saying “how about a modern day Indiana Jones”?
How about a normal loser kid who by accident finds an alien artifact, but has no idea how to use it properly? How about an ethical female spy who wants a chance to complete the objective by non lethal means before the army gets called in? Or if you are going to rip off stuff from movies, how about a comedy game where a couple of slackers fend off the zombie hordes with cricket bats! Or just stick me in a game! I do comedy, I can rap, I can do poetry, I get angry, I can wield a sword! I could be the most memorable game character of all time… or possibly just the worst…
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