Mini Design Challenge I: Who’s That?

So, I was going to make this a post, but I’ve decided that, instead, I’m going to ask it as a mini design challenge, something like what Eric Zimmerman does at GDC, but for everyone that reads my blog, and more focused on themes or techniques that are common in traditional media, but haven’t found a real home yet in games. I’m hoping to be able to do one of these every Monday, so make sure to check back for new mini design challenges!

This first mini design challenge is about anonymity. In plays and movies, directors can sometimes make a great artistic impact by creating anonymous actors: the “every man” so to speak. Specifically, I’m thinking about the play and movies based on Shakespeare’s Titus Andronicus, both directed by Julie Taymor (of Lion King on Broadway fame). In the play, there’s a scene where Titus is pleading with a group of town’s people to spare the lives of his sons as they are carted off to be executed. When Taymor directed this, in the stage version she made all of the people stone statues that were rolled across stage, and in the movie version the camera never faces the town’s people’s faces, and ends with Anthony Hopkins on the ground as their feet walk around him. Because of this anonymity, we don’t feel any connection with the town’s people, and in fact see them as cold and uncaring toward the old man’s plight.

Anonymity is also used frequently in the movie Brazil. Director Terry Gilliam directs everyone very similarly and in similar costumes, including the main character, though most of the time the extra’s faces are hidden behind darker lighting. This makes them seam like industrial robots, uncaring and unfeeling toward everyone, much less a crazy main character. In my mind, it is very similar to how a 1984 or Brave New World movie would be directed: everyone the same, going through the motions of daily life, uncaring and unfeeling.

So the question (or challenge) is, how can we use anonymity in games to similar artistic advantage? In what ways are we already using anonymity (either purposefully or not) in ways other than creating cannon fodder? Can we make characters in games that are just anonymous enough in a situation that the player wants their help, but find them uncaring an unmovable? \How would you make a game made up almost completely of anonymous NPCs, and what artistic purpose would you want it to serve?

4 Responses to “Mini Design Challenge I: Who’s That?” »»

  1. Comment by Craig | 05/01/06 at 1:50 pm

    Actually, that’s what drives me INSANE about games like Oblivion and Knights of the Old Republic. The characters in them have faces, they have evident emotion, they say things… but they’re unresponsive placards.

    It feels like I should be able to empathize with them (or visa-versa), but instead they are scripted to attack me, or say the same thing over and over.

    I don’t think this dehumanization is the effect we want, but I can see that it might be interesting if framed correctly.

    Also, you can argue that non-RPGs use this stuff all the time. The character models in Quake N are as far from anonymous as you can get, but they are not often differentiated in terms of capability, so they are still, in some ways, highly… ununique. Indistinguishable. Anonymous.

    Similarly, soldiers in an RTS.

    I guess this anonymity lets the game “flow” without hiccuping on the player’s social hang-ups, but I don’t think it’s being used well.

  2. Comment by Duncan | 05/01/06 at 1:51 pm

    I think that perhaps we should look at going the other way before we can again use anonymity to create something powerful. The reason that an anonymous character/group works is because it is the counter-point to the deeply emotional and connected main character(s). We ignore the anonymous and focus our attention on the plight of the main character, as expressed to us. The faceless, emotionless drones in 1984 don’t mean anything until they are directly opposed and highlighted by the passion and drive of the main characters as they try to find love and life in a world devoid of truth and meaning. It is the fight against the faceless system that emphasizes the drabness of the background the anonymous masses provide.

    The issue with using these kinds of characters in games is that we have difficulty producing the other kind in interactive (participative) media. Without the passionate side, the anonymity loses its meaning and effectiveness. In fact, the lack of emotional connection and drive in many characters is inadvertently creating anonymous everyman characters where they shouldn’t be. How many taverns has your RPG character walked into to find the same bartender and three drunk patrons? How many farmers have had daughter’s captured by unspeakable beasts? How many townspeople thrown our of their homes for one reason or another?

    Selling an anonymous character to a video game audience would be difficult; too many gamers are jaded by the lack of true character in many games. How would you differentiate your anonymous character from all the other wooden ones already there? Anonymity as an artistic choice only works when there is a contrast. Games need to work on that contrast first.

  3. Comment by omnicrux | 05/04/06 at 6:04 pm

    (If you just want to know what point I am making, read the first three paragraphs. I went off on a tangent a bit.)

    You are forgetting some of the best games in the world here! I’ll just remind you of one game that has been a favorite of mine for years, ever since I first played it on SNES; you forgot Chrono Trigger.

    In Chrono Trigger, the main character himself never once spoke out loud. He never did anything that you make him do (unless it was reflexive: dodging an explosion, pulling out a sword and taking a step back when someone comes at him in a threatening manner). Nonetheless, this game was, and still is, one of the most beloved games in gaming history.

    Part of the reason they managed to pull it off, was by using the incredibly well built characters around him. The colorful personalities, characteristcs, and backgrounds of the people who joined your party along the way, really made Chrono’s adventure personal and enthralling. Not to mention the fact that the storyline is one of the best.

    (Spoiler in the next paragraph)
    Chrono himself even dies. However, because the plot is based around time travel, if you are resoureful and clever, you can go back in time after he dies to before when he got killed and save him. Though, you have to go about it in an interesting way, since just yanking him outta there would have caused some time rift or something. You have to go to a fair that Chrono had been to, and win a competition in which the prize is a full sized replica of anyone you choose. Since Chrono had stopped by the booth earlier in the story (if you brought him past it anyway) the doll maker remembers him, and you can then get a doll made of Chrono, take it back through time, and switch it out with Chrono just before he dies. Keeping the chain of events that occur afterward (they were somehow important) intact.

  4. Comment by Josh | 07/24/06 at 11:56 am

    I see that this post is rather old, but I wanted to point out something that I think the posters here have overlooked.

    Anonymity can be used to create desire, suprise, and anticipation. Villains in movies or games could be unknown and/or mysterious. Often times, a series of crimes occurs and no one knows who the person commiting the crimes is. In gameplay, building up a primary villain like this leads the player into the quest to find out who they really are and stop the nonsense. Characters could appear shadowy and unknown, concealing the character’s “true identity”. In some cases their true identity turns out to be someone you least suspected, like your mother! When that happens, a sense of “whoa…” is experienced by the player as the chain of past events replays in the players mind. The discovery of the villain is built up by all of the anonymous encounters throughout the story where he/she got away.

    Intentional anonymity can leave us with a sense of wanting to know more, which drives us deeper into the story.

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