Grading Games and Movies - Maximilian Eyle

            In my past posts I have discussed what makes certain video games “good” and others “bad”. The more I think about it, the characteristics of each are not so very different from what makes movies good or bad. Of course, these terms are very subjective so we will have to establish some parameters and definitions before we delve too deeply. First there is what I like to call the Sophistication Scale, where the text is judged based on originality, in-depth narrative, production quality, – basically the sort of elements that are found in The Godfather and other legendary films. Secondly, there is the Guilty Pleasure Scale, where the text holds a certain appeal despite having poor acting, terrible plot, or some other seemingly debilitating characteristics or combination thereof. As I intend to explain further, video games can be organized and rated in much the same way and with much of the same descriptors.

            Let us first examine the quality film, or rather one that would score very highly on the Sophistication Scale. Rather than introduce a new text, the Godfather should suffice for this analysis. The storyline, while not only complex and multi-dimensional, portrays a part of American and Italian history in such detail and with such superb acting that the likes of it had never been seen before. The acting is fantastic, as is the directing, dialogue, and environmental realism. One does not have to be sheepish or embarrassed to say that it is their favorite movie because it embodies the traits that we as a society have classified as great cinematic art.

            What I find interesting is that a similar text of a different medium – Mafia, has similar standing in the gaming community and for much of the same reasons. While it did not achieve quite the same level of widespread fame that the Godfather series did, it is generally considered to be of excellent quality. As shown here, it was groundbreaking for its time and was even considered an “Editor’s Choice” by the Gamespot reviewers. Putting aside the wonderfully designed gameplay mechanics that aren’t represented by cinema, Mafia earns its praise by having sincere voice actors and long between-level videos with complex dialogue that does wonders to add depth to the storyline. As you play, you explore a beautifully crafted 1930’s metropolitan city with honking cars, bustling civilians, and even police who pull you over for breaking traffic rules. The plot is not merely, “As Team A, violently eliminate Team B with these weapons.” Instead, we have multiple stories with their own sub missions that all contribute to the larger tale. Morality plays a major theme throughout, as shown in this gripping narrative moment.

            We may all enjoy movies and games like those described thus far, but what about those B-grade movies that we set aside an evening for despite their flaws? No movie aficionado would openly praise them, except among close friends, but we are nonetheless entertained. The film 300, for example, has abysmal acting, a shell of a storyline that is only an excuse for a battle, is unrealistic, and the concept is unoriginal. But despite all of this, the slow motion sequences of Gerard Butler leaping through the air while cleaving oddly costumed villains left and right is shamefully thrilling. It is that one element, the element-savant, if you will, that in its glory manages to displace every other displeasing factor. For 300, it is the action. For other films, it may be the leading lady with great tits, or the incredible scenery.

In video games, the element-savant is almost always the same: Gameplay. Gamers of all ages, genders, nationalities, and creeds have put up with horrific voice acting, pitiful plot lines, unoriginal and unrealistic situations for this same reason. If a game requires skill to play, and the mechanics – movement, interface, and general physics, among other things – are well designed, the rest becomes secondary to many gamers. Take the numerous FPS’s, (First Person Shooters), that are completely unremarkable except for well designed combat. Or the RTS’s, (Real Time Strategy), games whose only redeeming quality is the high level of strategy that the game supports.

These two media are not as different as we would like to believe. I believe that a large reason that they are considered to be so distinct from each other is because they orbit different generations. For the most part, my generation – the gamer generation – has not yet taken the time to watch and study the world of cinema. They do not grasp what constitutes a high rating on the Sophistication Scale. This is equally true, if not more drastically so, for the older generations who are blind to the world of video games. To adopt, perhaps insensitively, the rhetoric of Dr. Martin Luther King to this situation, I dream of a day when young people and old people can join hands and enjoy films and video games equally together.