Since videogame narrative is still (mainly) taking its cues from its bigger brother, cinema, a lot of stories are built around the same techniques as a movie scenario. Thus, it is common to hear game directors or creators using the lexicon of the seventh art. I observed a trend over the last few months of game directors discussing the elements of their works and justifying them through the concept of theme.
A theme, much like in cinema, is the idea, or message, underlying the work, presented through motifs such as characters and their actions, sets, color schemes, dialogues, etc. Even the smallest detail can draw from (and to) the theme. Some of the grandest works of art had a theme and incorporated it cleverly, creating some sort of interaction, whereas symbols and references create a network of signification that adds to the effect the work has on the viewing public.
Now, games can, and do, have themes. For example, Bioshock is a game about power and manipulation, and the many enemies citing the Bible seconds before attacking the player is a reference to religion, one of many references to a form of power and manipulation the game contains. Games being an interactive medium, they can incorporate themes in their mechanics in ways cinema cannot. A game mechanic can be modified to add an echo to what the game is about, and this can be done seamlessly, or it can be forced upon the player.
Deadly Premonition (Access, Xbox 360) is a game strong on themes. Unfortunately, as awesome as it is (seriously, just go play it, its awesomeness can hardly be described), it suffers from a few force upon themes. In an interview, director Swery explained that the horrendous in-game map of the city (which does not turn on itself depending on the direction you’re facing, has a plain stupid zoom ratio, and lacks some sort of road-tracking capacity) was made so to keep in with the theme of being stranded in isolated ‘small-town USA’, and that the player has to learn the city map by himself, sort of ‘getting acquainted’ with the town. To his defense, let’s just specify Swery has actually apologized for the zoom ratio, but still tried to justify the other complaints.
This is not good. The theme cannot justify a broken play mechanic, because a broken mechanic distracts from the game, thus distracting from the message the game is trying to get across. You are not helping your game by forcing such a thing on your player.
I have a hobby of writing screenplays, and when I get stuck on where to proceed with a story, the best tip I find is to remind myself of what I’m trying to say through that story. Usually, it is enough to find a way to continue, just thinking of what serves the theme best. Many games find a good way to implement the theme into gameplay, to make it clear that the mechanic is self-explanatory, theme-wise. The relative weakness of the protagonists in the Silent Hill series does serve a purpose: they gain little from fighting, so they must flee as much as they can, much like they are fleeing their deeper problems (which they will unavoidably have to face in the city of Silent Hill). As such, allowing the protagonist to carry many steel pipes, planks and TVs in his inventory defeats that meaning (Silent Hill Origins, Konami, PSP).
On the other side of the spectrum, it is possible to go overboard and misuse the theme, or use it too much as to make it so clear it is no fun anymore. I thoroughly enjoy free-playing in the city of Clearwater in Saints Row 2 (Volition, Xbox 360). Unfortunately, every mission or mini-game is indulging in that ‘gangstas are the new anarchists’ theme (whether it be fighting the Ultor Corporation in the main storyline or just shooting shit at buildings from a septic tanker) that I tend to keep clear of these moments. The game is injected with too much ‘attitude’, and the more I play, the more I wish to stay clear from the theme which I dislike.
I came to a point where I disliked my avatar in Far Cry 2 (Ubisoft, Xbox 360) yet the game wanted me to feel like that, because the theme is well woven into the missions; the more you play, the more you realize you are playing a cruel bastard. Far Cry 2 pulled it off by keeping a good balance between theme and mechanics (the idea of ‘showing, not telling’ in literature). Saints Row 2 just wants to tell you how much attitude it has that it becomes sickening. Maybe adding a few game mechanics to keep the theme pertinent? How about not allowing the player to shoot his homies, or penalizing him if he does, instead of just inviting him to destroy everything and everyone? Just this little tweak would have made you feel more like you were sided with a gang, a brotherhood bonded by an ideology.
So, when facing a weird or original game mechanic, it is encouraged to wonder how it resonates with the rest of the game, or its story, before just giving up and shutting down your console or PC. It may well give you a new perspective on what you are playing.
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