"Game of Thrones": 10 Questions for Season 7
Storytelling Engines: City of Heroes
(or “Echo Chambers Need To Be Empty”)
Occasionally, I feel the need to open these columns up by reminding people of what a storytelling engine is, and the reasoning behind it. Not because I think that my readers have poor memories or don’t know how to go through my archived columns, but just because there are times when I want to look at a very specific angle regarding storytelling engines, and it’s useful to have the definition fresh. So I’ll say it again, really quick: A “storytelling engine” is the set of those elements in an open-ended series (including but not limited to protagonists, antagonists, supporting characters, setting, and central concept) that help the writer(s) generate stories.
That last part is very important to a massively-multiplayer online video game like “City of Heroes”, because there’s a pretty strong demand for stories. Players of MMOs put years of their time into playing the game, and they’re always looking for “content”, storylines for their characters to follow that makes progression through the game more than simply “defeat the next bad guy and move on.” (In City of Heroes, you don’t “kill” bad guys, you “defeat” them. With your battle-axe, flame sword, katana, venomous spines…)
As a result, the developers of the game have designed a world that is filled with storytelling engine elements. There’s an open-ended history to the game with loads of heroes and villains, from the mad scientists of the Vahzilok to the tyrants of Praetorian Earth, tons of evil schemes and mayhem always in progress for you to stop, and generally loads of things to see and do at any given moment. Why, there’s a virtually endless amount of storytelling elements for writers!
So why have the tie-ins been such miserable failures commercially, despite the presence of talented writers like Mark Waid and Robin D Laws? (I should not have to explain to anyone why I idolize Robin D Laws. The man is a genius.)
The answer comes from the difference between video games and conventional narratives, and also serves to explain why video game movies, as a rule, suck rocks. The storytelling engine of a video game series always has one crucial and key difference from the storytelling engine of a book, movie, TV show, ballet, et cetera ad nauseum, and that comes from the protagonist. The protagonist of a conventional story drives that story with their decisions, their personality, their virtues and flaws and singular character. A good protagonist in a conventional narrative is always unique, doing things nobody else would do in that situation whether for good or ill.
Whereas in a video game, the protagonist is you. No other medium has this advantage, and no other medium can use it to make a story so totally immersive. In City of Heroes, you are the main character. You make those decisions, and you create the narrative around you. Simple things like getting into a fight with a couple of thugs with guns become thrilling, because you identify completely with your character to the point of feeling real fear when your health bar is in the red. A protagonist that’s too defined and rigid actually works against the video game’s strengths (who doesn’t get tired of too many cut scenes in a video game? Those are the scenes that ostensibly tell the story, but we’d rather be the character than watch them.)
So when City of Heroes tries to translate itself into a conventional narrative, it runs headlong into this problem. The novels and the second series of comics tries to turn the Freedom Phalanx (the CoH equivalent of the Avengers or the Justice League) into a well-defined team of super-heroes, complete with personality conflicts and interpersonal struggles, but the audience that comes from the video game wants those people to be ciphers that they can project their own ideas and personalities into. Not to mention, in City of Heroes, those characters are supporting characters, not protagonists. They’re mentors to the real heroes–the players. This is the ultimate difficulty for a City of Heroes comic/novel/TV show/ballet…for it to be really true to the video game, it’d need to be about you. And that’s kind of tricky to pull off. (The first City of Heroes comic tried, by showing the adventures of a trio of street-level heroes. While it wasn’t without its charms, it still couldn’t manage to be “about you”, by definition.)
Interestingly enough, it looks like we’re soon to see the reverse problem: DC Comics will be launching an online game soon, where you can create your own hero and have them team up with Batman, Superman, et al, to fight the Joker, Lex Luthor, and the endless hordes of DC villains. Which sounds good as far as it goes, but it might find a translation problem the other direction: Who would want to just hang out with Batman, when they could immerse themselves in the world even more fully by being Batman?
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