The Power of Immoral Villains in Video Games
Immorality isn't as bad a people think. But don't get me wrong: it can be a great characteristic of a person... in video games! Not only does it spice up the narrative, but it's also a useful tool in shaping the feelings of your player. When you've just learnt a friend is -- in fact -- a foe, you get motivated to progress through the story and find out what happens next. Conversely, when a despicable villain redeems themselves and turns out to be a principled character, you get a surge of gratification as a new person joins your cause. However, neither of these scenarios are easy to write, much less to put into play in a video game, so today I analysed two games that masterfully use immorality in their story: Dishonored and Call of Duty.
Check out the entire series: • The Anatomy of a Memorable Video Game...
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Games shown:
Call of Duty: Modern Warfare (Infinity Ward, 2019)
Call of Duty: Modern Warfare 2 (Infinity Ward, 2009)
Call of Duty: Modern Warfare 3 (Infinity Ward, 2011)
Celeste (Extremely OK Games, 2018)
Dishonored (Arkane, 2012)
F.E.A.R. (Monolith Productions, 2005)
Shadow of the Colossus (Team Ico, 2018)
The Vanishing of Ethan Carter (The Astronauts, 2014)
Uncharted 4: A Thief's End (Naughty Dog, 2016)
Other credits: https://pastebin.com/nGPhzWc7
Music:
Various scores from the soundtracks of:
Call of Duty: Modern Warfare, by Sarah Schachner
Call of Duty: Modern Warfare 2, by Hans Zimmer and Lorne Balfe
Call of Duty: Modern Warfare 3, by Brian Tyler
Dishonored and Dishonored 2, by Daniel Licht
#Video Essay #StoryWriting #GameDesign
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