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Tom Bissell's "Extra Lives" asks, Are video games a massive waste of time?

Started by Oluseyi Jun 15, 2010 at 9:39 AM 47 replies 9.9k views
Original Post
Oluseyi
Oluseyi
Over on Slate.com I came across an article about a (new?) book by Tom Bissell called Extra Lives in which he ultimately wonders whether video games are a waste of time. Far more interesting to me, however, is this pair of paragraphs by Slate technology writer Farhad Manjoo:
Quote:
When he looks at video games from a critical distance, Bissell is concerned mainly with their lack of narrative meaning. Games ask us to save the princess, save the country, save the world, save ourselves—but no one plays games to achieve those ends. We play for the puzzle, for the physics, for the sense of being embedded in a fully realized world. Indeed, for me, the "story" usually seems like filler, even in games like Grand Theft Auto and RDR [Red Dead Redemption], whose stories are smarter than the rest of the video-game pack. RDR begins and ends every mission with cleverly scripted movielike "cut scenes" that provide some explanation for why your character is doing what he's doing—but the game also lets you skip the scenes, which I usually elect to do. Thus I can't really explain why my character is doing what he's doing. The real answer is he's doing it because I am making him do it, and I am making him do it only because I am having fun.

"This is one of the most suspect things about the game form," Bissell writes. "A game with an involving story and poor gameplay cannot be considered a successful game, whereas a game with superb gameplay and a laughable story can see its spine bend from the weight of many accolades—and those who praise the latter game will not be wrong." What's the solution to this quandary? Should games invest more in story, in an attempt to bring us narratives that are on the level of those of the other popular arts? Or should games abandon story—is the video game, as a form, simply incompatible with traditional concepts of narrative, and must game designers instead find other ways to invest their creations with lasting meaning?

I happen to feel that narrative is typically awkwardly shoehorned into games, with elaborate backstories provided for the character you're supposed to be playing and an on-going plot for the conflict you're embroiled in, but none of which is necessarily vital to play (in most games) or viscerally experienced in and of itself. In fact I've argued that games should have little more than bare premises, leaving the players to create their own emergent narratives - and there's evidence to suggest that this is precisely how tons of people play sandbox games like the aforementioned Grand Theft Auto and Red Dead Redemption.

Ultimately, though, I must admit: the (already little) time I spend sitting in front of a computer or television playing video games (or watching TV in my case, although not movies) does feel wasted. Not so much because I think the activity is inherently wasteful as because it's ridiculously inefficient: apart from the fact that I could be "getting things done" (including socializing), there's the fact that your classic video game is structured around repeated failure before advancement to the next level, although titles like Joe Danger (PSN, Hello Games), among others, allow you to advance in any order and to retry areas/levels at your whim. My PS3 sees way more use as a DVD/Blu-Ray player and Netflix client than as a game console.

Your thoughts?
SimonForsman
SimonForsman
I don't get it, why does everything have to have a meaning, is time spent having fun really wasted ?
[size="1"]I don't suffer from insanity, I'm enjoying every minute of it.
The voices in my head may not be real, but they have some good ideas!
szecs
szecs
Kicking a ball with your foot is a waste of time. Watching films is a waste of time.
Everything in this world is a waste of time.

Do you have fun while playing games? Is "fun" a waste of time too?
Sure, I should spend more time on curing cancer, charity, saving seals and whales, writing books, and stuff like that.

My whole life is worthless
*cries and jumps out of the window *
dave
dave
Funny POV szecs, but i completely agree with you.

I think only one game ever has gotten me emotionally involved in the story and that was Deus Ex. Ultimately i don't care what happens to my character or NPC characters in any given game, i'm there for the game play. I played Mass Effect not too long ago and the action was ok, the story was so in-depth i didn't give a shit and so i just blasted my way to the end. GTA is a fantastic game and once i have done the stories i play it even more as a sandbox.
BerwynIrish
BerwynIrish
"You lift some weights. You watch a movie. It's all just a series of distractions until you die."
Oluseyi
Oluseyi
Quote:
Original post by szecs
Do you have fun while playing games?

Quote:
Original post by Oluseyi
[I think] playing video games [is] ridiculously inefficient: ... there's the fact that your classic video game is structured around repeated failure before advancement to the next level...

Survey says, "Not really, most of the time." Perhaps that's the fundamental problem.
szecs
szecs
Quote:
Original post by Oluseyi
Quote:
Original post by szecs
Do you have fun while playing games?

Quote:
Original post by Oluseyi
[I think] playing video games [is] ridiculously inefficient: ... there's the fact that your classic video game is structured around repeated failure before advancement to the next level...

Survey says, "Not really, most of the time." Perhaps that's the fundamental problem.
Yup, but when you succeed/advance, that's pretty much fun.

The whole life is like that: you have to bare some shit for the greater fun.

Side-note: I'm not a gamer. I had much fun with Quake, with RTS games, but I'm not a hardcore gamer. Sure, it would have been better, if I chased panties instead, but I can't change that now. (But I guess that would have been a waste of time too...)
Silvermyst
Silvermyst
Do one thing and do it right. I think too many games try to be too many things to too many players. The result is games that have small cores of fun surrounded by large gobs of dullness. "It's about the journey." Nope. I want to have fun, right now. I'd much rather spend $50 on a few hours of great gaming than on hundreds of hours of mediocre gaming.
You either believe that within your society more individuals are good than evil, and that by protecting the freedom of individuals within that society you will end up with a society that is as fair as possible, or you believe that within your society more individuals are evil than good, and that by limiting the freedom of individuals within that society you will end up with a society that is as fair as possible.
geo2004
geo2004
Like pretty much everyone else said, I would agree that they can/are a waste of time, but no different than a lot of other activities that I do in a given week.
I usually play games for two reasons: to relax and to socialize. I play mostly games that have a multiplayer aspect, and also games that my friends are playing (long time friends that I don't see often now since I moved). I stay in touch with a good portion of my friends through MP games.
capn_midnight
capn_midnight
The problem with the modern evaluations of gaming as a legitimate medium of expression is the focus on narrative. If you want to explore narrative, write a book, that's not what games are for.

I generally think of mediums of expression in terms of the tools that they provide artists to communicate with consumers, and what types of messages those tools are suited to conveying. In this way, practically anything is potentially a medium for expression, as long as it can be used effectively to achieve that directed interaction between artist and consumer.

So in that vein, books as a medium use not just text, but the long form of story arc across multiple chapters, with distinct phases of character development, story progression, climax, and resolution, to provide the reader with an ultimate moral. The text itself is less important than the thematic, hidden meaning of the text. The text of Chaucer's Canterbury Tales just tells a bunch of goofy stories about farting in people's faces and sexing up other men's wives. Those stories aren't the point of the book, the point is the overall framework of who is telling the stories and how they are told, to construct a criticism of the characters within, characters who were common fixtures in people's lives of the time.

Paintings, on their surface value, are just pictures of events of some kind. It's the selection of color, the compositional arrangement, the included and excluded details, that speak to us and tell us something more than "this is a picture of a man sitting at a table".

Each medium has its own language, a language only possible because the consumers and artists have a shared cultural understanding. Hence, haiku is lost on most westerners. Hence, games are lost on most media critics. Games can only now become a medium of expression because we have the first generation of artists and consumers that have shared cultural experiences. In the Atari days, it was adult programmers making games for children. Now, we have adults who grew up playing games making games for adults who grew up playing games. We have the necessary conditions for creating that special language specific to this medium. Unfortunately, we don't yet understand what that language is.

For the media critics, they seem to think that language is narrative. This is just plain stupid. Dumb and idiotic. Video games are clearly a new medium, to attempt to force narrative as their primary facet of critical analysis is foolhardy. There is a reason why narrative feels shoehorned onto most games, because games suck at conveying narrative. This should be obvious by now.

I personally think that games provide us the opportunity to force the player to reflect on their own moral dilemmas. Much has been said about the No Russian level for Call of Duty: Modern Warfare 2 (the Musical), but I think it's a good example of this. Most people playing the level shot the civilians. I know I did. I had no idea until reading other articles on the level that it's possible to play the level without shooting any of the hostages. I thought, "here's the situation, I'll probably lose the level if I don't." I didn't even try to find out, I just plowed through. That realization that I didn't try, even though the game has a very forgiving level-replay feature, struck me. I participated in digital mass-murder for no reason other than attempting to avoid the mild annoyance of having to replay the level. I mean, I ended up having to replay the level multiple times anyway because of how many times the police killed me, so once more just because I didn't shoot any hostages would have been nothing. So that's one way.

Another example is the pure, crystallized rage that gets injected into my veins by I Wanna Be The Guy. As far as cathartic emotional reactions go, nothing has yet topped IWBTG. Games are very good mediums for inducing feelings of frustration. IWBTG starts to make us consider what other feelings games are capable of inducing.

So that's my standard view on the whole "are games art" and "are games a waste of time" topic, which I believe to be inverse questions (an affirmative for one would be a negative for the other). Take it for what it is worth. It's not like I know what the hell I'm talking about. Though, do let me know if you find someone who does.
Oluseyi
Oluseyi
Quote:
Original post by capn_midnight
The problem with the modern evaluations of gaming as a legitimate medium of expression is the focus on narrative. If you want to explore narrative, write a book, that's not what games are for.

Bingo.

I found your argument fantastic, actually, capn_midnight, and think that the vast majority of games being pushed as "critical hits" err on the side of trying too hard to shoehorn in narrative. Incidentally, I don't care much for the genres that many habitually cite in defense of the narrative potential of games, such as RPGs: I don't want to read/watch a story and then play test interludes to unlock the next stage. Or perhaps I should say that I don't care for the current incarnations of such games; I believe that we have at least the makings of the technology for role-playing games in which we author the entire narrative arc exclusively through our play.

The fundamental difference between the painting, haiku, the novel, the film and video games is that while the former present commentary on external entities - characters, environments, etc - the latter have the potential to provide commentary on us, as in the case of the "No Russian" level you cite. (Interestingly, the level may not be a commentary on a fundamental about us as much as a commentary on our decades of conditioning in terms of how to approach video games. Or not.)

So, yes, I think there's a tremendous amount of room for advancement of this artform as distinct, and that such advancements will make it more fun (to me) with time. Maybe that's why I keep buying/playing. [smile]

As for the waste of time/art questions, I really don't care. I do lots of stuff that's a waste of time and far from art already - and enjoy it.
Lazy Foo
Lazy Foo
There's this misconception that the cut scenes we see in video games don't work because video games are fundamentally interactive and anything that takes away from the interactivity fundamentally degrades them.

The fact is, the reason cut scenes don't work is because they wouldn't work as a movie either. If Final Fantasy VII was instead done as a TV series, it'd be canceled before Aeris took her dirt nap. However, as a set of clips that give context to the game play it gets the job done alright.

Narrative and game play can work (See, Psychonauts, Silent Hill 2, Bully, First 2/3rds of Bioshock), but the fact is for every game that does it with a minimum level of competence, there's 200 more that have stories like they were written by a Anime fan with a severe brain hemorrhage.
Learn to make games with my SDL 2 Tutorials
Zahlman
Zahlman
The story in a game is a hook to convince people to keep playing. In the case of many RPGs, advancing the plot is more like part of the reward than part of the purpose. You're not trying to kill Aeris, nor can you prevent it. Rather, her death symbolizes "You have gotten X% of the way through the standard set of challenges, congrats". And yes, for many people it will be superfluous.

It's worth considering that in the NES era, story ranged from minimal and largely inferred at best to nonexistent at worst. Game designers really only started putting it in to compete and to fill space - out of a perception that it would make the experience more immersive. I don't think we have really properly tested whether this perception reflects reality.
capn_midnight
capn_midnight
Quote:
Original post by Oluseyi
Quote:
Original post by capn_midnight
The problem with the modern evaluations of gaming as a legitimate medium of expression is the focus on narrative. If you want to explore narrative, write a book, that's not what games are for.

Bingo.

I found your argument fantastic, actually, capn_midnight, and think that the vast majority of games being pushed as "critical hits" err on the side of trying too hard to shoehorn in narrative. Incidentally, I don't care much for the genres that many habitually cite in defense of the narrative potential of games, such as RPGs: I don't want to read/watch a story and then play test interludes to unlock the next stage. Or perhaps I should say that I don't care for the current incarnations of such games; I believe that we have at least the makings of the technology for role-playing games in which we author the entire narrative arc exclusively through our play.

Yeah, that's exactly it. I love Mass Effect, but really I only love the story, the game play is rather much garbage (especially in v2 with that whole mining for minerals bullshit). That's not a game, that's a movie. Mass Effect would have been a lot better as a movie.

I love Tetris because it's a game and nothing but a game. It could almost be implemented as a physical game, not just a video game. I can lose hours playing Tetris. Tetris is almost like haiku for gaming. It's such a minimalist set of rules that come together to form a game that has transcended time. Every platform has at least one implementation of Tetris. I view Tetris as an "art game" specifically because it is a game that has maintained relevancy at the same time as transcending platform. Transcending platform is pretty important -- modern iridescent paints haven't invalidated the work of Leonardo Da Vinci. But Galaxian is nearly unplayable to children who have grown up in the 3D gaming era.
Quote:

The fundamental difference between the painting, haiku, the novel, the film and video games is that while the former present commentary on external entities - characters, environments, etc - the latter have the potential to provide commentary on us, as in the case of the "No Russian" level you cite. (Interestingly, the level may not be a commentary on a fundamental about us as much as a commentary on our decades of conditioning in terms of how to approach video games. Or not.)

I don't think that's the case. I think static mediums can have commentary on ourselves. Any time a character shares traits in common with the reader, the reader will project themselves on the character. The activities in the work will then reflect back on the reader. I know I've come away from reading certain books questioning a bunch of my fundamental assumptions. I submit that most "art" authors are specifically looking to do this.

As for subverting assumptions on the language of medium, that is absolutely a valid mode. It's pretty much the entire surrealist movement as it applies to every other medium.
Quote:

So, yes, I think there's a tremendous amount of room for advancement of this artform as distinct, and that such advancements will make it more fun (to me) with time. Maybe that's why I keep buying/playing. [smile]

hehe, me too. I keep buying these games hoping one day they won't be such shit.
ChaosEngine
ChaosEngine
My philosophy on this is that something is a waste of time if it doesn't overall make your life better in some way. This applies over short, medium and long terms, from the instant gratification of a tasty beer to studying so you can get a job to facilitate the lifestyle you want.

So for me video games fall into that short term enjoyment category. Ultimately I enjoy my life more with video games in it rather than not in it.

Quote:
Original post by Oluseyi
there's the fact that your classic video game is structured around repeated failure before advancement to the next level


I'd argue that this is true of a lot of skill sets. Take snowboarding for instance. The people who are pushing the skill level fail repeatedly until they get that new move perfect. Even for a mediocre snowboarder like me there is that plateau/leap in progression, where suddenly that huge jump feels tiny, followed by a long period where that front 3 is impossible.


if you think programming is like sex, you probably haven't done much of either.-------------- - capn_midnight
RivieraKid
RivieraKid
video games improove your problem solving skills and reaction times unless your grinding some dull mmo.
nilkn
nilkn
I apologize if it takes me a while to make my point. What you see here is an edited and expanded version of what I originally posted.

If I may offer some quotes from the Matrix, which I think have some relevance here even if you don't hold the sequels in high regard...

Quote:
Agent Smith: Surprised to see me?

Neo: No.

Agent Smith: Then you're aware of it.

Neo: Of what?

Agent Smith: Our connection. I don't fully understand how it happened, perhaps some part of you imprinted on to me, something overwritten or copied... it is at this point irrelevant. What matters is whatever happened, happened for a reason.

Neo: And what reason is that?

Agent Smith: I killed you, Mr. Anderson. I watched you die--with a certain satisfaction, I might add. And then something happened. Something that I knew was impossible, but it happened anyway. You destroyed me, Mr. Anderson. Afterward, I knew the rules; I understood what I was supposed to do; but I didn't. I couldn't. I was compelled to stay, compelled to disobey. And now here I stand because of you, Mr. Anderson. Because of you, I am no longer an Agent of this system. Because of you I've changed, I'm unplugged, a new man so to speak. Like you, apparently free.

Neo: Congratulations.

Agent Smith: Thank you. But as you well know appearances can be decieving, which brings me back to the reason why we're here. We are not here because we're free. We're here because we are not free. There is no escaping reason, no denying purpose, because as we both know, without purpose, we would not exist.

Multiple Smiths: It is purpose that created us, purpose that connects us, purpose that pulls us, that guides us, that drives us. It is purpose that defines, purpose that binds us.

Agent Smith: We are here because of you, Mr. Anderson. We're here to take from you what you tried to take from us. Purpose.


Narratives offer purpose to those who can't create it for themselves. And video games can only be wasteful of time to those for whom pleasure and enjoyment do not suffice and who feel that they must, at every step, be moving closer to the fulfillment of some purpose.

Quote:
Agent Smith: Why, Mr. Anderson? Why do you do it? Why get up? Why keep fighting? Do you believe you're fighting for something? For more than just your survival?

Can you tell me what it is? Do you even know? Is it freedom? Or truth? Perhaps peace? Could it be for love?

Illusions, Mr. Anderson. Vagaries of perception. The temporary constructs of a feeble human intellect trying desparately to justify an existence that is without meaning or purpose. And all of them as artificial as the Matrix itself, although only a human mind could invent something as insipid as love.

You must be able to see it, Mr. Anderson. You must know it by now. You can't win. It's pointless to keep fighting.

Why, Mr. Anderson? Why? Why do you persist?

Neo: Because I choose to.


What does it mean to waste time?

Some people have an impulsive, almost innate need to feel like they are constantly working towards satisfying a purpose. It's like they're afraid to be humans and would rather reduce themselves to programs created to play a specified role and to be cast aside when no longer needed or when used up.

This is probably a mode of thought created by classical conditioning imposed by society itself. The constant pressure to do well in school, to get a job, to play a role in the now vast social and industrial complex, to make and keep friendships, to make money, to marry, to have kids, to obtain a home and a car and other symbols of success and wealth, to learn to speak in a certain educated manner...

With all these goals imposed on us, it's easy to feel directionless when we find ourselves doing something that lacks immediate purpose beyond pleasure and enjoyment.

Compare Elves and Men in Tolkien's Middle-earth legendarium. The Elves, the Firstborn, are immortal, beautiful, intelligent, and possess a certain power over the native materials of the world that Men cannot understand and ultimately call magic. Being immortal and powerful, the Elves easily overcome their environment, and I wonder if the concept "waste of time" ever was conceived by them in the beginning. Being immortal, it's clear that before the Kinslaying, the theft of the Silmarils, and the Doom of Mandos, the Elves probably didn't much conceive of purpose either. Instead they just partook of the pleasures of the world, and the Eldar enjoyed fellowship with the Valar. They existed to enjoy the world.

Men on the other hand are fleeting, and they find it much harder to simply enjoy the world. Look at how easily they are seduced by the Ring in the Third Age--the pursuit of power provides lifelong purpose to those who have satisfied all their basic needs. Only those who are able to live without immediate purpose--the Elves, the Maiar (Gandalf and others), the Hobbits, etc.--seem to have strength enough to reasonably resist the Ring (though not indefinitely, as we see in Frodo's case and in Galadriel and Gandalf's hesitance to even touch it).

If you're familiar with The Silmarillion, here's a quote: "Therefore he [Iluvatar] willed that the hearts of Men should seek beyond the world and should find no rest therein; but they should have a virtue to shape their life, amid the powers and chances of the world, beyond the Music of the Ainur, which is as fate to all things else; and of their operation everything should be, in form and deed, completed, and the world fulfilled unto the last and smallest."

Or look at the punishment God chose in Genesis. Adam and Eve in their beginning served little purpose: they simply enjoyed walking in Paradise and beside the Creator. But when they ate of the Tree of Knowledge of Good and Evil, they were banished and made to have to work for enjoyment. Pleasure was now an end to be obtained. They now had to act purposefully.

Lest I get off-topic, the point I'm making is that I think the inclusion of narratives in games is fundamentally tied to humans' innate desire to act purposefully. Whether the explanation is classical conditioning or anything else, it seems we find it hard to simply partake of the pleasures of the world, and in order to do so we seek justification--purpose--for our actions.

Witness the prevalence of scoring systems even in classic videogames like Tetris. Scores provide purpose. They offer us the opportunity to "improve" in some way by improving our score. Most people can't even enjoy sports unless there is scoring involved, thereby invigorating competition against oneself and against others--and this ultimately does nothing but manufacture purpose: the purpose to improve, with the meaning of "improve" determined by context. Look at the entire concept of celebration: it provides partying with purpose. We're not just shooting fireworks on July 4th for enjoyment and pleasure; we're doing so purposefully as remembrance of past events. Look at how people search for higher meaning in novels--critics often don't just want a fun story to enjoy; they want that and a story that somehow teaches, instructs, i.e., a story that serves some purpose other than simple entertainment. The same is true of the vast majority of movie critics--it's not enough that a movie be fun; it also needs to have some greater purpose beyond entertainment.

Narratives in video games often perform the same function but obviously do so in a very different manner. They provide the player with a sense of purpose. Take GTA IV, for instance. That game allows the player to pursue the same purposes (in the game world) that he probably pursues in real life--the attainment of wealth, nice cars, houses (safehouses in the GTA world), political and social power, etc.

How many games provide absolutely no sense of purpose of any kind? I can't think of any but would be very interested in suggestions. Even Mario provides a purpose for you to play it: to beat the current level, to beat the current world, and ultimately to beat the game. When I was little and played it for the first time, I remember having the conscious purpose of trying to beat the game. But even Mario deems this is not compelling enough, so it adds on an extremely thin but still purposeful story involving saving a princess.

[Edited by - nilkn on June 15, 2010 8:42:58 PM]
Captain_Thunder
Captain_Thunder
While I think that video games have a long way to go as an art form, I have run across some video game stories which I thought were of fairly high quality, so I would like to pose a question to the people who lean towards viewing game stories as superfluous: what types of story elements have you found in other mediums that are not currently present in games, and what types of elements would a game story have to incorporate in order to be comparable to novels, films, etc?

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