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Notes -
This is based off a comment I made to a group of friends, and it was suggested I post it here; I've edited it to be more approachable but please forgive any poorly explained references.
I am continuously boggled by how bad the drop off in video game writing has been. Inversely, it’s shocking how passable and even good it is coming from (mostly text based) games in the 90s and early 2000s. The people making those stories were often programmers with no creative history, so it’s surprising to me that they were able to put out such quality writing with any level of consistency.
Take the Mac game Marathon. There are definitely duds in the writing, mostly Durandal (a recently gone-insane AI) being wacky, but the majority of the writing is pretty good. Even the “computer being crazy” was a somewhat fresher concept, so I’ll excuse the missteps. More than that, the writers Jason Jones and Greg Kirkpatrick were still in/barely out of college when they made Marathon. That’s just astounding to me given the quality of some of the terminals.
The other example is Ares, another 90s Mac game (guess when and how I grew up). It's a much smaller game, with a less sprawling story, but what is there is pretty good quality. It’s not Marathon level writing, but its development was even smaller scale - basically a one man show. One guy was able to code an entire game, write the music, and write the story, and it’s all passable at absolute worst. Even more than the overall story, the quality of the writing on a basal level is quite good.
My question is how did this happen? Thinking on it has given me three main possibilities:
The first is just that the people making games - and particularly their stories - have changed. As the coding and graphics and scale get more complex, you can’t juggle everything as the project lead and reasonably be able to produce anything above indie level. I definitely think this is the majority of it. But I also think culture has an effect on this, and my second and third theories touch on that.
Second is that I think it’s an indicator of the quality of education, and especially higher education, falling significantly. I have no evidence for this, but the amount of knowledge the creators of old had in their back pockets to make their stories feel genuinely vast and deep, not entirely myopic.
That leads me into my third theory, which is nerd culture at large falling apart completely. This isn’t a new idea, but it used to be that being a nerd required you to be immersed in whatever passion you had, often alone. Greg Kirkpatrick admitted he read a ton of sci-fi and played a ton of DnD, and he drew on both of those for Marathon. As a personal anecdote, my recently deceased grandfather is universally considered to have had Asperger’s. The breadth of how he lived is astounding, though. He built a house, engineered rockets, became computer literate on his own (well past when he'd have been expected to do so), raced bikes, and played music. Absolutely a renaissance man in every way. In all I don’t see nerds and the autistic (they’re correlated) having near as comprehensive an upbringing. Maybe it’s the death of reading, maybe it’s being terminally online. It's all just sadly lacking. I don't think I have to illustrate that the barrier of entry to "being a nerd" is basically just saying you are. On that note, there's a trend of “nerds” that are just English majors who played games, which might explain how a lot of dedicated professional AAA video game writers are so bad.
As a counterpoint, Prey 2017 had its story written by its lead developer, as well as some of the music. I think the fact that it’s so good is a testament to the need for a game to have its own solid vision, even as the scale increases. Maybe that’s the root cause more than anything else.
Some additional considerations (and my responses to them):
Whoah. I was just about to bring up Mass Effect as an example of popular bad sci-fi. Not simply for its ending, but from structural design perspective (a terribly managed/planned trilogy structure that led to the ending), an inability to stick to character arcs (many reoccuring characters flip from their initial story arcs to fit into the narrative / character appeal niches as needed), it's heavy power fantasy dynamic verging into sycophantism, the tendency to emotionally heal traumatized women by boning them, and so on. A good enough contrarian could even write an amusing spiel on it's fascistic themes and narrative style (though admittedly most who do aren't good enough to pull it off).
That's an interesting perspective. The only circumstance I can remember in this game isJack, but if you do that immediately in the early game after you recruit her it actually locks you out of the more interesting parts of her romance arc- and you... actually don't fuck in that one if you take it to its conclusion, if I recall correctly . (And I don't think Morinth counts, because if you do that, obvious consequence is obvious; though I do admit that mimicing her mom plot point came out of nowhere if you side with her during that quest... which you have literally no reason to do other than to meme. Which is also probably why "we'll bang, OK" with her exists in the first place.)
Personally, I would have preferred to bone Legion, but you... kind of do that anyway, in a way. The Garrus romance is about as close as you can actually get for that one and he's not the same.
The Jack romance certainly ends with a lovers relationship, and her romance is the only one where she makes meaningful emotional healing and interpersonal progression in ME2. Miranda is uniquely characterized as smiling in a way she never did before and is also only able to have a healthy emotional relationship solely if Shepard is the one to provide it (with their dick). Kelly Chambers, in so much as that one qualifies, resolves it's emotional catharsis by having her do stripper dances in your room after she was kidnapped, locked into a pod, and nearly turned into bio-goop. Tali is much less emotionally traumatized, but certainly emotionally questionable given that she risks death itself for the sake of the Shepard bone out of a mix of captain-crushing hero crush (and the fact that you covered up her father's cultural war crimes).
Ashley... is a more mature frank attraction in ME1, but Ashely's character arc also jumps to the point that the tomboy not-a-model gets a major model glow up come ME3, so who knows there.
Ah yes,
ReapersMiranda. Putting the ass in Mass Effect since 2010.Honestly I'm not too much in knots about Tali since ME2 isn't even the first game she's in. Same thing with Liara, but maybe she doesn't count since you can't romance her in ME2 (not that you can do that with Ashley either, of course). I think the least fleshed-out/one that makes the least sense is Samara, discounting the alternative option.
I do find that the male options in ME2 were better but that's just because I think Garrus and Thane are better characters (not that Jack isn't a good character herself). Too bad they memed on Jacob in ME3; they didn't really flesh his character out at all in ME2 (maybe ME1 players blew up Carth more often so they didn't think it was worth the effort, lol).
Doesn't that option become available to you before she gets kidnapped? I do agree it would be more interesting if that option was locked out after that because of that, but I'm not sure they thought about it that hard.
You could maybe make the case for the current crop of female 3d modelling, but storytelling? Miranda, as well as all the other ladies of Mass Effect, were all properly fleshed out characters, with their stories, struggles, charms and flaws. You could put them all in a niqab, and they'd still be interesting characters (as proven by Tali). The current crop of female characters are all cardboard cut-outs. Miranda's ass tipping the domino that launched a chain reaction leding to the collapse of the skyscraper of game writing, makes absolutely no sense.
I know we disagree off and on, but may I commend you for making me laugh out loud at this visualization? The scaling alone...
I do appreciate the disagreements, for what it's worth. You argue straight and clearly, and even if I remain stubborn, it tends to be the kind of disagreement that triggers some introspection.
And in any case laughing at my jokes will always trump disagreement.
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