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Develop 2009: Thatgamecompany's Chen On How Emotion Can Evolve Games
by Mathew Kumar
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July 15, 2009
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Feelings make the game, says thatgamecompany's Jenova Chen. "If the feelings that you provide in your game are unique, then your game will be unique," said the Flower developer's creative director and co-founder at Develop in Brighton.
"Today’s games are more real, more engaging and more satisfying," said Chen, "but really, the underlying interaction dynamics aren’t more sophisticated than what we’ve been used to."
Games are still closer to toys than the films and literature it aspires to be compared to, Chen asserted. "With a toy like wood blocks, we learn about physics, colors, math by playing, and games tend to offer similar lessons," he said. "Yet people don’t continue to play with toys as adults."
Why? Chen suggested it relates to the emotional potential of toys compared with adult-oriented media. "Clearly what we need are more mature games, but that doesn’t mean more sex and violence," he said.
"The Three Little Pigs is a fairy tale, enjoyed by children. The Little Prince is a fairy tale, too -- but it’s enjoyed by adults [as well as children].”
"You see, what I realized during the development of Cloud was that entertainment is about feelings," he continued. "Entertainment isn’t just for the sake of itself. When we’re hungry, we look for food; when we’re thirsty, we drink. When we want to experience feelings? It’s entertainment that provides, because in society there are restrictions that mean we can’t do whatever we want."
On realizing the importance of feelings as a driver of entertainment, Chen investigated the response of critics to films and to games.
"The words people [use to] describe films are emotive; they describe films as ‘passionate’ or ‘magical.' But when people talk about games they’re technical, as if they were describing a car. 'The graphics are good. This car has four seats,'" he said. "They rarely consider how the game makes them feel."
The reason? Limitations on games' "emotional spectrum."
"Most games provide only primal feelings—and in general, power fantasies," said Chen. "I loved these feelings when I was younger, but as I get older, I start to wonder about the other feelings I can have."
The evolution of games experimenting in a larger emotional spectrum was something Chen hoped would be analogous to the early film industry. Originally fixated on thrilling the audience with footage of speeding trains, as the audience grew it became necessary to offer more involved and subtle productions.
"This is a time when user experience innovation has much more potential to develop video games than technical," explained Chen. "If the feelings that you provide in your game are unique, then your game will be unique."
As advice, Chen offered some lessons he had learned from the development of Flower, such as the discovery that in the attempt to make a “fun” game, the team had blunted the emotional impact.
"Sometimes hard fun is your enemy," said Chen, "but it’s too easy to try and make a hard, fun game, as it’s almost all we know."
Instead, developers are going to have to look at games as art if they want them to be treated as such, he said. Though Chen admitted that this was a topic about which many in the industry are "jaded," he concluded that it was important that designers think as deeply about "what they wish to share with the audience," as an artist would.
"Artists draw on their life and time, and reflect on that," he said. "As designers, we have to think about what we want to share with our audience, what we want to tell them, otherwise we’re only wasting their time."
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Well then continue to design your next-gen wood blocks toys, there's a market for it. Perhaps you could add a mounted weapon on them? Would be "fun".
I coudn't agree more with Chen. Our media is able to deliver so much more than evolved toys. I don't think that we stop "playing" as we get older, we just need more mature interactions. When I was a kid, I could play with a frog and be fascinated. Then as a teenager I was more fascinated by the interactions with girls. And now interacting with my class of students is my current challenge. And I guess that my wood blocks and legos have been replaced by my interest in home renovations and engineering. It's still "playing" for me, and it's fun. But I don't think games can provide me this much satisfaction from "playing", unlesss of course if I replace my home renovation hobby by let's say a flight simulator hobby. But that's not the kind of games we're talking about aren't we? We can't all hope that people will make our game their hobby and expect to sell 10 millions of them.
Games as entertainment need to be consumed like other entertainment medias. They need to deliver passionate stories with complex feelings and emotions. Because yes I can be entertained for a few minutes by the toy type of games, but that's not enough for inciting me to buy a second Geometry War game, a second Forza game, etc. I realise that I consume a lot more of these emotinal stories from other medias. Movies, books, blogs, politics, sports controversies, TV soaps, etc. I am always interrested in new gossips and evolving stories. But I am not as much interrested in always discovering new toys, hobbies, sports.
So if some games can focus a bit more on delivering emotionnaly engaging stories, than I think there might be a even bigger market for them waiting to be developped.
I have to admit that the games I'VE enjoyed most are the ones which both are really fun to play and really interesting to experience; that make me think about the characters, story, setting, and so on, as something to dig into instead of something to just set up the gameplay.
Not everyone wants to create art for some kind of empty peer approval. Some of us want to do it because we have an idea burning in our mind and no other way to express it.
I don't know what Jenova Chen's motivations are, but based on the quality of his games I'd suspect he's at least somewhat serious about the art he creates.
An artist will have something they want to communicate and I think he's saying don't let the pressure to create a traditional "hard fun" game get in the way of artistic expression. If executed well, it is that artistic expression that will set the game apart from everything else.
Soon, it will all come together, and the industry will be even better than it is now.
PS. My favorite emotional driven AND fun game has been the newest Prince of Persia, with Empathy being the feeling I experienced very enjoyably.
So yes, I agree that he's saying what you're saying, but I also don't think he's saying that artistic impression is more important than fun.
The lack of more meaningful adult content (not the so-called 'mature' content, there is more than enough of that!) is one of the key reasons I find myself increasingly dis-satisfied with gaming as a use of my 'free' time. As I get older, reading a classic novel, watching the West Wing, playing piano, or learning a foreign language are far more interesting and rewarding pursuits than what I'm getting out of most games.
"I don't mind emotional impact in my games, but neither do I mind sacrificing it for what I believe is ultimately important: Fun"
In my opinion it is "the experience" and not "the fun" that should define games.
Unless this mindset is changed games will never be considered as meaningfull art by people that aren't gamers or developers.
In my experience the games of Fumito Ueda do exactly what Jenova Chen talks about, to a certain extent. Through atmosphere and the relationships between the player and non-playable characters, Ueda's games are able to evoke varying emotions that all serve to create a very fun and memorable experience.
Fun is not an emotion, it is a result of emotions. Lasting and varying emotional impact serves to increase the fun factor of a game. I think a more appropriate argument would be the assertion that the lasting emotional impact (depression, inspiration, passion, etc.) Chen talks about can possibly divert from the more primal or adrenaline-based feelings we're used to receiving from videogames. That's an assertion that I would absolutely disagree with however.
Note that some of us "adults" continue to enjoy "fairy tales" and that fairy tales and other mythology was originally intended to convey very "adult" concepts about life philosophy. It's best not to stereotype.
More importantly, games have offered excellent emotive content for decades. This is especially true for Japanese games, but even Western products such as various Western adventure games from Sierra Online (King's Quest, Space Quest, Leirsure Suit Larry, etc), The Longest Journey, and Septerra Core offer such content (just as a few examples since there are many others, of course). From Japan, games such as Phantasy Star I and Ys I & II have excellent emotional content, as does more recent franchises such as Xenosaga. Other products that were never brought to the English market such as Tokimeki Memorial, Giniro, Doukyuusei, Kakyuusei, and Kana Imouto helped define the industry. In fact, many Japanese gamers were only considered as such if they played Kanon when the game was released. The English market (and Western markets, in general) lag far behind on offering strong emotive content other than, as Chen says, "power fantasies."
Some people may notice that I included titles that contain explicit sexual content. Well, if you want to evoke emotion, sex is part of life just like many other elements. In fact, it is easy to argue that sex is one of the key elements of life. However, there's a HUGE difference between gratuitous sex (i.e. "pornography") and consumation of the emotion we call "love" with the act of "making love." Just as gratuitous sex (or gratuitous violence or other content that is offered without any supporting reason or development) might be something to avoid during an attempt to evoke deep emotional empathy with an audience, so too may it be necessary to depict lovemaking in order to maintain a deep empathic connection as the culmination of a loving, caring, developed relationship. The interesting point is that people have been "cybering" for many years now regardless of any attempts to prevent such content in any product, but that such activities are not "making love" so much as simply "gratuitous sex." For those who want the genuine emotion of love and physical consumation, there's virtually (pun intended ^_^) nothing available in the English market.
This observation applies to any content, though. For example, Deus Ex did a terrific job addressing issues(and uncannily prescient, in many ways) about the "near future" of government antiterrorism activities, the benefits and dangers of nanotechnology, and the conflicts created by socioeconomic dysfunctionality. Xenosaga touches on many of the same issues but in a much more obvious, far future setting in order to maintain a certain distance and create an atmosphere for methodical thought about the issues rather than having the settings be uncomfortably familiar as they are in Deus Ex. Star Ocean: The Last Hope goes further by arguing that the only correct choice of interaction is noninterference because any attempt at "good intentions" will always cause unforeseen and unfortunate consequences that will cause later regret after the fact. Giniro offers a look at the corruption that is caused by extreme sources of power no matter how innocuous they may seem, and how some humans have consistently abused and mistreated other members of their societies throughout our history due to perceived differences in physical capabilities or socioeconomic class.
In my view, what we need is more recognition of what has been created and expansions on such efforts in the future.
The Psychology of Massively Multi-User OnlineRole-Playing Games:
Motivations, Emotional Investment, Relationships and Problematic Usage
by Nicholas Yee
There is a section on emotional interest.
And I wholeheartedly agree... enaging = emotional response = fun.
As for movie-like emotional games, they're easy to make. What is a movie? A story. What is a story? Characters, plot, and setting. What is a game? Interactivity. What is an emotional game? Interactivity and story. The majority of movies are emotional because of the characters. The games Jenova Chen seems to want to make reminds me of an old video I used to have called "the mind's eye", I never found that video emotional, but I've found other story and character driven movies emotional.
Look at comedy movies, they usually start off funny then as the story needs to be told they get boring. This is a pitfall that many comedy movies suffer because movies rely so heavily on telling a story. It is kind of the same pitfall that the game industry suffers because we rely so much on interactivity. How do you make a comedy movie? Put the story on the back-burner. How do you make an emotional game? Put the interactivity on the back-burner. You don't have to take interactivity out, but you have to have some kind of ratio where if you x amount of interactivity then you have to have y amount of story telling. I know people don't want to hear that, but the only way to make something emotional, truly emotional, not "heeyyy dude, I love you man, oh and by the way I'm on drugs" emotional (Jenova Chen's "emotional") is to have a well thought out story with well thought out characters.
Another thing to note is that for a game to be emotional that story has to have ties to the real world in some way, so people can relate. Even movies that have no ties to the real world aren't emotional. Monsters, zombies, etc, unless there is some theme there like evil, fallen from grace, revenge, they're not emotional overall. Final problem is that since story is characters, plot, and setting and often people can't relate to a computer generated character, all that is left is plot and setting. So at this point in games the story has to make the most of that plot first and foremost before anything. It needs to consider the theme that it is trying to convey as a top priority because until we can identify with a computer generated character that is the most emotional story telling device we have. Other alternatives are real footage in some way (Metal Gear Solid games). Or to make the game first person with limited "other" character contact (i.e. Portal). Or to make the game with archetypes or entities with human-like emotional states despite not being human (i.e. Last Guardian).
Jenova Chen's idea of emotional to me isn't what I view as emotional. His view is more like the movie I mentioned early, the mind's eye, it takes advantage of whatever thoughts you're already having to create the illusion of emotion, druggy, psychedelic emotion.
That's already happening. You no longer need 10 years in the industry to become a game designer. You just need some coding knowledge or a copy of game maker.
Very few creative industries will just dump a pile of money on some unknown talent's doorstep, and the video game industry is no different. If people really have ideas about how to make games more emotionally engaging then prove to us how good they are first by putting them into action.
The reason? Limitations on games' "emotional spectrum."]
If anything I learned in art school, the same thing occurs in Fine art, anytime someone begins to talk about the where you purchased the paint or the hue of your color more than the content, then it can only mean a couple of things: a) your art is about the materials b) your content is being overwhelmed by the process c) the appropriate or respective lexicon has not developed or evolved to critique the form.
Personally, I'm more intrigued by the latter, as it falls in sync with a couple of example from Fine Art history, mainly the introduction of modern Photography, followed by Film years later. Photography in its early years was described in the context of painting, until at last an appropriate language developed to describe the phenomena. Same thing occured with Film, described in terms of theatre and photography.
Video games is not different. As in Fine art critical theory, there is more than one way to describe an experience and every single method is as equal as the rest. It can be merely technical, formal, psychological, romantic, deconstructive etc...the list goes on. Jenova's discourse hopes for a call to the Romantic development of the form as an experience; nothing wrong with that, however when developing a game, unless your doing it by yourself, you have to interface with different groups that have different expectations to create their portion of the game. You will definetly need to talk about mechanics, systems and heuristics to one group and color, shape, visual language etc to another. Unfortunately, telling any of these disciplines to make the game more "emotional" will not translate to anything quantatively production wise.
I had a very brief conversation with Jenova years ago during his intern on Medal of Honor, he supposed that we weren't making the game "emotional" enough. That really down played the hard work everyone was doing to elicit a very cinematic experience within the game and time frame of the production. I asked him to describe his design in terms that we could turn into spaces, scenarios, mechanics or systems, a language that we could move forward with into production. Simply stating a critique without giving it a critical language ends up becoming as self referencial as an abstract painting. For example, is it pacing, character arc, story arc, a beautiful vista, a wafty tune of music, a subversive emotional mechanic yet to be discovered that can be used off the xbox controller?
I've discoursed Fine Artists of mine whether Fine Art is entertainment, they definetly say NO, I always respond "but it was fun to experience." That really gets them going!
In closing, the fact is our audience is growing, at best even in movies or art, the easiest tool descriptor is using Structure and Form first. A shipped game is probably more about when, where and what your doing and a shy second to why your doing them. Ironically, this is sometimes quite the opposite when your first coming up with the IP!
I had set out to create some art with a initial goal in mind, thought I failed, but someone saw something more in the work. Maybe when I threw out the technique and got emotional with the work, something came out of that creative process that I was not aware of.
Is the next-gen version "emotion in games"?
The strange thing is that when you play a game with obvious artistic mastery, or compelling story (interactive or not), or emotion, you can only agree that such "ingredients" are welcome.
My question would be:
why is "stating the obvious" so problematic ?
Possible answers:
- designers have their own design preferences and struggle hard to spread them in the game design field. They look for visibility and have provocative (?) strategies to express their views.
- the game design field can't help being influenced by previous forms of expression (theater, movie, modern art) and wants to acquire the same marks of public recognition not only in terms of results (prizes, fame,..) but also in the mode of production of works: they want to "express" things (feelings, idea, etc..) for example.
- the game design field is very heterogeous and subject to internal contradictions (specially the tension between game as a "product" and game as a "work" (of art)).
- the game designers struggles to emancipate from economics (market, price, sales, all the "if-the-game-sells-well,no-complain" soo pragmatic "thinking"). One way is promoting "new" values.
- Recently a lot of emphasis has been put on "FUN", but actually it's quite hard to make fun games ;) "So.. maybe find something I'm good at.."
My personal opinion is that game design shares a lot of similarities with other art forms (including "toys"), but I tend to be more interested in what makes game design different from them.
The problem of emphasizing "emotion" is that though it may look provocative, it can also be regarded as quite conservative.
I understand that this is the game industry that we're talking about. But suggesting that all games should be 'fun' is like suggesting that all songs should be happy, all food should be sweet or all movies should be 'funny.'
Drama can effect people in a very not-fun way and yet still be a rich and rewarding experience. I'm not knocking Mario or any of his 'fun' buddies but there's more to life than distraction and entertainment and publishers would be foolish to ignore it forever.