Metal Gear Story?!

The game that I would choose would be Metal Gear Solid - "the game's revolutionary new style of gameplay, which focused on remaining hidden from the enemy and avoiding unnecessary combat, marked a bold departure from previous action games that emphasized attacking and defeating the enemy."

http://www.konami.jp/gs/game/mgs/english/mgs_series.html

Also... some bits on Metal Gear Solid:

Metal Gear Solid, (Japanese:メタルギアソリッド ) commonly abbreviated as MGS, is a stealth-based game developed by Konami and first published for the PlayStation video game console in 1998. It is the third canonical game in the Metal Gear series, produced and directed by Hideo Kojima, with artwork by Yoji Shinkawa. Metal Gear Solid alternates stealth gameplay and expository cinematic sequences. It has been frequently selected by gaming publications as the greatest PlayStation game ever made.

Metal Gear Solid was groundbreaking in its use of spoken dialogue, an intricate plot, and cinematic presentation. The availability of 3D graphics and the extensive storage capacity of the CD-ROM format compared to what the Metal Gear team had to work with in 1987 and 1990 made it possible to create a more complete version of Hideo Kojima's vision of what the previous games for the NES and MSX should have been.

http://en.wikipedia.org/wiki/Metal_Gear_Solid

1. Discuss the tension between agency and narrative structure within the game. Do you agree that narrative and interactivity can never co-exist? Why/why not?

Metal Gear Solid is one game that focus on both its narrative and gameplay. And I believe it makes a better example the RPG genres. In my personal experience of playing this game, I find it is the tactical espionage gameplay that entices me to attempt a level in different ways, in how to engage with the enemy, either in a gung-ho guns-ablazing fashion (which the game doesn't encourage), or move in a stealthy manner. At the same time it is that desire to advance the storyline, to know the whole 'plot' of Metal Gear Solid. From start to finish, it has both the cinematic and interactive feel to it. Ahh... as this is after all a blog, the best way to discuss the tension between agency and narrative would be to recall as much as possible of my experience in playing the game.

Cinematic intro using in-game graphics: The beauty of MGS is that all the graphics, be it cut-scenes or gameplay, are consistent throughout. No highly rendered FMVs here - but the opening credits was done in a movie fashion, where you see the names of producers and designers of the game, all while Solid Snake, the main character, is swimming towards his destination. The opening narrative, which depicts Solid Snake communicating via a special bio-intercom (no idea what it is!), makes gamers think: what is the purpose of Snake's mission? Why is he here? What can he do to stop it? To answer all these, YOU become Solid Snake, and you move the story forward. All the dialogues, cut scenes and gameplay are done seemlessly, as though it is integrated into a system...

Wait a min...

Did I just say a system? Recalling the earlier lecture about the idea of a system, it seems plausible that indeed the narrative and interactivity within the games forms the system, because suppose either of the elements are taken out, it seriously dampens the 'meaningful play' found in MGS. The intercom dialogues, which Snake and other members will get involve in often, are surely part of the narratives. But they are essential to the gameplay cos certain points of the game requires Snake to know certain information. I recall one point of the game where I have to intercom HQ to find a weak point of a certain enemy. I got it through the dialogues where they tell me to shoot from behind!

Hence in terms of tension... I would say MGS provides a unique example where there is little tension between agency and narratives. Either of the elements are not compromised and what you get is a full cinematic interactive experience.

I have a good example of agency and narrative intertwining, based on the earlier example of calling back HQ for tips on killing the boss. The narrative could have been like this : Snake pulls out pistol and shoot boss, boss take little or no damage at all, Snake runs around aimlessly, Snake runs away from boss... Snake still thinking of ways to kill boss... then HQ rings in to tell Snake how to defeat the boss. But if I chose to react by calling in HQ immediately.. the narrative would be, Snake pulls out pistol, shoot, no effect on boss, then intercom to report immediately. The dialogue gives directions. AND YET.. if I have taken a closer look at the cut scene, I would have clues that this boss is tough in front with two chainguns firing at you, but his back is weak. And earlier on I acquired a remote control rocket launcher which can target his back. Hence the narrative complements the interactivity, the interactivity complements the narrative. And the agency that you input determines whether snake is fighting like a hero or a wuss!

Interesting enough, MGS attempts one global agency within one of the cut scenes. Mid-way in the game Snake is captured and put to torture. If you chose to surrender to the toture, you find that your female counterpart in the game, Meryl, will die in the end. But if you choose to withstand the torture, which is to bash your button continously, she'll escape with you in the end. Two different endings... and that's not it, what is truly 'global' is the item you get at the end. Viewing bad ending, you get an invisible suit when you play the game all over again. View the good end, you get a bandanna which grants you infinite ammo. And if you play a 3rd time with both endings viewed, you get to play in a tuxedo suit.

Well, MGS is an industry example of how to seeminglessly integrate narrative and interactivity together. Rather than making cut scenes or FMVs which are pure eye candy purposes. Make it part of the game, part of a system. I guess the complete use of in-game graphics for MGS cut scenes is deliberate. It is when one feels that you play to move the narrative, you view the narrative to play, then you find that it is not a question of whether they can co-exist... it is HOW they co-exist.