New Video Games Aim To Be Deeper Than First-Person Shooters


Irfan Khan

By Todd Martens

Los Angeles Times


LOS ANGELES — Miguel Oliveira is developing a video game in a tiny apartment near the University of Southern California, worlds away from the high-tech studios of Sony, Microsoft and Nintendo. He works on a laptop surrounded by folding chairs and red plastic cups. The forgettable surroundings belie his ambition: to design a game that changes the way we play.

In Oliveira’s game “Thralled,” set in 18th-century Brazil, players explore jungles and ships to help a runaway slave reconnect with the life that was stolen from her.

The Portugal native grew up on games where guns played the starring role. Now, he wants something more — to create work that has the same cultural resonance as the best in film, literature and music.

“What’s blocking interactive media from being considered art is that most video games focus on primitive feelings of aggressiveness and competitiveness,” said Oliveira, 23, a lifelong gamer who graduated from USC’s interactive media program last spring. “Art is introspective. It makes you see the stuff that makes us human.”

“I want to believe I’m in the business of making people better.”

Oliveira is among a new generation of designers who are re-imagining the role of video games, injecting a dose of realism — from everyday moral dilemmas and economic struggles — into a medium that’s generally relied on two extremes: save the princess or save the world.

“Papo & Yo” follows a young boy who must tread softly around an abusive monster, a metaphorical father who is struggling with addiction. “Prison Architect” calls on players to build and manage detention facilities while navigating issues such as race and capital punishment. “Gone Home” spins a tale out of the feelings of loneliness and banishment that consume a teenage lesbian. “Papers, Please” asks players to imagine life as an underpaid, over-stressed immigration officer in an Eastern Bloc country.

“Games don’t have to be a happy, fun thing,” said “Paper, Please” designer Lucas Pope, a 36-year-old American now living in Japan. “Our generation grew up with games, and we express ourselves through games. Games once had to be entertaining, but now games are another way to talk to people.”

Most of these character-driven games are being developed on shoestring budgets by independent designers. But big video game companies are seeing the potential in tapping a demographic beyond the GameStop crowd.

Ubisoft Montreal, best known for blockbuster brands such as “Assassin’s Creed,” will release a game later this year called “Watch Dogs.” Set in a crime-ridden Chicago, the game deals with government and corporate surveillance, with players grappling with the balance between personal privacy and urban safety. Designer Jonathan Morin said his goal is “to bring a shade of gray to the gaming world.”

David Cage of Quantic Dream, a Paris-based company, is making games that turn seemingly small moments — losing track of a child at a mall or feeling uncomfortable at your first high school party — into grand, anxiety-filled set-pieces. “You can do more with this medium than make toys,” he said.

Richard Hofmeier’s independently produced “Cart Life” offers a snapshot of what it’s like to be poor in America. “Cart Life,” which has been downloaded more than 3 million times, puts players in control of various street vendors, such as a Ukrainian immigrant trying to sell newspapers or a single mom who hopes to start a coffee stand.

“Cart Life,” with its crude block-style art and blip-and-bloop sound effects, looks straight out of the 1980s. Its thematic maturity, however, is very much of the moment. What the game lacks in technological prowess, it makes up for in character depth.

Melanie Emberley, the game’s struggling entrepreneur, is getting divorced and battling for custody of her daughter. Here’s a puzzle players are forced to confront: Can Emberley spare the time, financially, to converse with her child? One doesn’t necessarily win “Cart Life,” since a character such as Emberley is never really out of debt.

It’s not just indie games that are getting existential. Sony’s 2013 zombie-themed hit “The Last of Us” included a realistic underlying theme: coping with the loss of family members.

“We’re in a place where it’s OK to fiddle with people’s emotions,” said Adam Boyes, a vice president at Sony Computer Entertainment. “Video games were always a way out, but nowadays we can have deeper conversations, whether it’s around the NSA or our relationships with our parents.”

Expanding the game genre is also seen as a way for the industry to keep players buying games long after they’ve grown tired of narratives built around men with guns.

Nearly two-thirds of video game players are under age 35, and 55 percent of players are male, according to the Entertainment Software Association. The trade group defines video games broadly; it counts avid consumers of more casual titles played on handheld and mobile devices.

Sales data for the most popular games points more forcefully to a younger male demographic. Seven of the top 10 selling video games in 2013 were combat, sports or action titles, according to the NPD Group. “Grand Theft Auto V” and “Call of Duty: Ghosts” claimed the top two spots.

Video games have yet to win broad appeal across age, gender lines in the same way that blockbuster films or top-rated TV shows have.

“The game industry likes to say we make more money than Hollywood, but more people saw ‘Toy Story 3’ on opening weekend than have played a ‘Call of Duty’ game,” said game designer Warren Spector, whose credits include “Deus Ex,” a sci-fi combat game with complex narratives and political overtones. “The movie industry isn’t charging $60 to see its product. We sell a lot of copies, but there are probably 2 million core gamers really into this stuff.”

Forget high-jumping plumbers and gun-toting muscle men, the characters of these independent games, all playable for the PC, are more akin to those found at your local independent cinema.

“Cart Life” (Richard Hofmeier). Play as a Ukrainian immigrant or a single mom, each in a desperate state to succeed as a street vendor. But selling lots of newspapers from a cart isn’t a key to riches in this life simulator, which turns daily anxieties — remembering, for instance, to buy cat food — into tense, playable moments.

“Prison Architect” (Introversion Software). The idea was simple: design a game in which players can build penitentiaries. But the execution has been far from easy, as nearly every aspect of running a penal complex is a hot-button issue. Still in development, “Prison Architect” mixes narrative and simulation elements, touching on issues of race, capital punishment, prison labor and more.

“To the Moon” (Freebird Games). “Can you take me to the moon?” It’s a dying man’s last wish, and it launches this sci-fi fairy tale in which two doctors are hired to re-arrange the memories of an elderly client to help him die a happier man. Can we love the life we lived, or will our dreams always haunt us? There are no easy answers when grappling with mortality.

“The Novelist” (Orthogonal Games). A marriage on the brink, a father who thinks he’s a hack, a mother who has suppressed her desires to be an artist and a bullied child. These are the various tales that the player — a ghost living inside an idyllic home — will uncover and attempt to manipulate. But are the supernatural as helpless as the living?

“The Shivah” (Wadjet Eye Games). There’s a murder, and Russell Stone is a suspect. But this is no ordinary whodunit. “The Shiva” is a character study, offering a look at the life of Stone, a down-on-his luck Rabbi. He’s bitter, in debt and ready to step away from his life of servitude, but the game’s events have him reexamining his relationship with his faith.

“The Stanley Parable” (Galactic Cafe). Stanley’s life is a modern tragedy. He’s not only stuck in a soul-crushing cubicle job (Stanley is employee “No. 427”), he’s content with going nowhere. But suddenly everything that’s normal is not, and Stanley’s daily routine is thrown upside down. Can Stanley, frightened of his boss and nervous of losing his job, handle the unexpected?

—Source: Todd Martens, L.A. Times staff


©2014 Los Angeles Times

Visit the Los Angeles Times at

Distributed by MCT Information Services

Print Friendly, PDF & Email