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Copyright © 2002-2021 Mark Barrett 

In the Cross Hairs

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A few days ago I suggested that we as an industry might do well to get ahead of attempts to blame our entertainment medium for the deranged sniper homicides near Washington, D.C. While I’ve only heard speculative mention of any possible association between those killings and the sniping simulations on the market (see partial list in previous post), I wasn’t at all surprised to open my Gannett-affiliated local newspaper yesterday and find an article entitled “Sniper deaths stir video-game violence debate.”

The game primarily targeted in the article was Konami’s PS2 title Silent Scope 3 (SS3), which carries a ‘Mature’ ESRB rating. The ‘Teen’ rated Silent Scope, “a less sophisticated version,” was also noted as being available for GBA. Leaving aside the question of what actually makes SS3 more “sophisticated,” the article clearly intended to establish that not only are there sniper simulations on the market, but that some of them are squarely aimed at kids, whom the non-gaming public assumes are the only consumers of interactive entertainment.

If there’s a wedge to get behind regarding concerns about violence and games, it seems to me that the point of that wedge might be raising the consciousness of the average consumer about the demographics of the game-playing public. While I have serious concerns about the ready availability of hardcore titles, and I’m not convinced that violent works in any medium are benign to children, I’m also concerned that the public and press don’t seem to differentiate between children and adults in their concerns.

For example, nowhere in the article is there any assertion that the sniper on the east coast is underage, yet the article only takes five sentences to get to a quote from a concerned “New York City mother of two” in a Yahoo chatroom: “These kinds of games are disgusting and shouldn’t be available to kids.” Well, I agree that some games are disgusting, and there are plenty that shouldn’t be available to children, but what does that have to do with the killings, or with the possibility that the sniper may be an adult?

Having joined the battle in predictable fashion, the article mentions a few more sniping titles, then brings in Douglas Lowenstein, president of the Interactive Digital Software Association (which may be the most redundant title I’ve ever heard in my life) for counterpoint. Dutifully championing the industry, Lowenstein scoffs at the idea that video games ever cause aggressive behavior, cites a few allies in his cause, then closes with the following: “…all repudiate claims that violent media and/or video games do not lead to aggressive behavior.”

Whether that’s a typo, or Lowenstein was misquoted or misspoke, if that’s as good as it gets then I suspect our industry is going to take a beating for the foreseeable future. If the sniper turns out to have been a devotee of one or more sniping games, I suspect there will be hell to pay.

— Mark Barrett

Sitting Ducks

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The recent spate of sniper killings in the northeast has unfortunately produced another line of thought on the subject of violence in computer games. Note that what follows concerns only adults and violent interactive entertainment, not children.

A few days ago I was watching one of the ubiquitous talking-head entertainment programs that passes for journalism these days, and a retired NYPD homicide detective was being asked for his take on the sniper killings. His opinion was that the sniper was different from the ‘normal’ spree or serial killer, primarily because the attacks, like the killings at Columbine, seemed to him to be part of “a game.” Before I had a chance to wonder whether he was using the term metaphorically or not, the detective asserted that the killers at Columbine had been acting out the fantasy of a computer game that they had played.

In a frozen moment I realized that while most people would be relieved when the sniper was caught, I, as a member of the interactive entertainment industry, would still be waiting apprehensively to find out if the killer’s software library included any computer games that featured sniping. Assuming for the sake of argument that I’m not the only person in the business who’s had this thought, why we aren’t getting ahead of the curve this time?  [ Read more ]

To Speak or Not to Speak

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For the first time since I began speaking at the GDC three years ago I let the deadline for abstracts pass without submitting my roundtable proposal. I am still not sure why I no longer have an interest in moderating roundtables on the subject of Creating Emotional Involvement in Interactive Entertainment, but I am certain that I do not. As the deadline passed a few days ago I felt nothing but relief, despite the fact that I still believe emotional involvement is the key to our industry’s long-term success.

While I hope the industry will take this objective seriously in the future, right now, in general, the status quo stills reigns. Having seen the current approach in action for the better part of a decade, I confess I do not have the conviction necessary to protest against yet another round of graphics adoration and feature masturbation. Until the money people actually demand design and storytelling competence from developers, I don’t think all the lectures and roundtables in the world are going to convince developers to improve their skills and products.

For the record the ratings I received from the attendees at my roundtables were always very high, and there were always a number of committed people who were very interested in the subject matter. Unfortunately, they weren’t the ones turning yet another five million dollar budget into a steaming pile of development waste.

— Mark Barrett

Article Posted: Localizing Narrative

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I have posted an article in the documents section on Localizing Narrative in Interactive Entertainment. I wrote the article in the aftermath of having been asked to correct a localization effort that proved almost fatal to an otherwise enjoyable product.

In my opinion there should be no failed localizations at this stage of our industry’s development. That a game’s entire development cost could be forfeit due to poor localization should be sufficient motivation for developers and publishers to see that it doesn’t happen to them. For those interested in avoiding such disasters, the article explains how to implement a narrative localization process that will allow foreign audiences to appreciate and enjoy the produicts you create.

— Mark Barrett

And the Winner Is

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Five years ago I went to the GDC (then known as the CGDC) with one question in mind: did the industry know how much it didn’t know about the problems inherent in combining interactivity and narrative? After numerous conversations with some of the better minds in the business I came away with my answer: the industry was, as I had come to believe, essentially clueless.

In the aftermath of that experience I submitted my first roundtable proposal to the GDC on Creating Emotional Involvement in Interactive Entertainment, the intent being to use the forum as a vehicle through which to advance industry awareness. The subtext of these roundtables has been that we need to seriously address the threshold requirement of creating and sustaining suspension of disbelief over the entirety of the play experience, because without that capability we will always be seen as a lesser form of entertainment and artistic expression. (That may not be fair, but that’s the way it is.) As will become apparent, it’s also worth noting that of all the craftspeople involved in creating entertainment, none knows more about creating and sustaining suspension of disbelief than do writers.  [ Read more ]

Making Do With Design

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From the beginnings of the computer game revolution, way back when some Ph.D. geek first decided this amazing new technology just had to be turned to the lofty pursuit of tic-tac-toe, there has been an implicit assumption that technology can and will solve any problems that come our way. Indeed, back then natural language processing was thought to be right around the corner, and the development of sentient AI seemed easily within reach. It was only a matter of time before humanoid robots became our confidants and contemporaries.

In the harsh reality of the following decades all attempts to build AI that can handle believable language interaction have failed. On the interactive fiction and storytelling front, the most agile programs remain unable to sustain suspension of disbelief for more than a moment or two. Even comparatively simple pursuits such as pathfinding and NPC behavior often destroy suspension of disbelief, forcing developers to turn to scripting and predetermination in order to keep players imaginatively involved in their games.  [ Read more ]

Putting the Customer First

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For two years now I’ve been thinking about revising my site, the intent being to make more frequent contributions about the design and development of interactive entertainment that involves the user on an emotional level. The main motivation for increasing my presence is that I’ve hardened in my belief that too many games fail in this regard simply because there is a lack of understanding about how writing and design choices impact the emotional potential of interactive works. Leaving aside whether I’m personally qualified to exploit that potential, the fact remains that our industry is still struggling to define techniques with which we can reliably generate the same depth of emotional experience that audiences enjoy from movies, television, theater and literature.

It was with this lofty goal in mind, then, that I began to tinker again with a new site design prior to the 2002 Game Developers Conference (GDC). Unfortunately, as had happened several times before, I quickly ran up against my own limitations and the limitations of the web development software I was using. Frustrated as I was, however, I vowed to persevere against all odds this time, and committed to having the new site up before I left for the conference in mid-March.  [ Read more ]