[S]ince the games are generally about power, control, and those other primitive things, the stories tend to be so as well. This means they tend to be power fantasies. That’s generally considered to be a pretty juvenile sort of story.
The stories in most video games serve the same purpose as calling the uber-checker a “king.” It adds an interesting shading to the game, but the game at its core is unchanged.
Remember: my background is as a writer, so this actually pisses me off. Story deserves better treatment than that. (Koster 86)
I would be hard pressed to state this thought in a more clear or concise fashion. Put simply, the stories in most games tend to be weak compared to their media counterparts (novels, comic books, movies, television). Over the years, there have been a few exceptional stories that span larger issues, or address the nature of power and control itself; a modest number of games have alternatively succeeded in refining the “power fantasy” into a more engaging telling, but the underlying principles have remained the same. Stories are tacked on, extraneous except in providing a context for player empowerment. While certainly not the sole issue, this is a fairly damning point when attempting to defend games as a valid form of creative expression.
So what can be done to improve the situation? The short answer is to hire professional writers. The vast majority of companies currently have their dialogue and story written and developed by the game designers, programmers, and artists themselves, rather than spending the money on a professional writer. Take the hint from the media that have come before: games are not that far different from comics, books, or movies, all of which have had significantly more time to develop techniques to tell a compelling and nuanced story, techniques that are effective across media.
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