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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):
Video game writing is one thing. Have you seen Hollywood recently?
I went to the cinema recently and saw two movies. One is Godzilla x Kong: The New Empire. It's Kaiju Wrestlemania, the monster fights are pretty fun, Kong at one point beats a monkey with another monkey. Entertainment. And in between it all is some of the most agonizing, painfully bad human-scale plots, characters and exposition I've seen. Granted, it's a movie about a nuclear dinosaur fighting a giant monkey, it's not exactly somewhere people look for good writing. It's going to make a lot of money.
The other was a matinee showing, I woke up early, offset a healthy morning walk with some unhealthy breakfast, went to an AM showing of the only flick that still had the discount pricing. Some anime flick called Haikyuu: The Dumpster Battle. It's an animated movie about high school volleyball featuring two teams playing a single best-of-3 match in the lower bracket of a tournament.
After finishing that movie, I came out of it gobsmacked. Not because it was great or anything, but because this nothing anime movie from a series I don't think is any good managed to clear the what seems like a ridiculous bar, these days, of being a human story about humans doing human things. You know, a story featuring characters who drink water and breathe air. Humans.
It's not that Japan is somehow exceptional at this, it just seems like Hollywood has entirely forgotten what humans are like. How they talk, how they think, how they react around other people. What they care about. It seems like the ability to model human beings, or write from their perspectives, is completely missing.
When Hollywood writes characters these days, they almost inevitably end up as one of the following:
Or some combination of the above.
To go back to GxK: the cast of characters in that movie exploring Hollow Earth are as follows. The adoptive mother of a mute child, who is having trouble connecting to her adoptive daughter (probably the closest to an actual person, cliche). Angry security man who is rough, tough, and angry at everyone for no apparent reason (cliche, cartoon character). Weird surfer Australian hippie kaiju vet heavily implied to be adoptive mother's ex boyfriend (cartoon character). Mute girl who can talk to Kong (plot device). Chubby black podcast conspiracy nerd trying to get views on a podcast and complaining about trolls (cartoon character, obnoxious, cliche).
None of these people are people. I don't know if they drink water or breathe air. The podcast guy looked and acted like if you cut him he'd bleed Monster Energy. None of them talk like human beings. Their dialogue is either snappy oneliners, built for movie trailers, or clunky exposition. It's telling that the movie's best sequences featured exclusively kaiju, had no dialogue whatsoever, and props to the special effects team - Kong was capable of emoting and communicating who he was and his thoughts and feelings to the audience far better than any of these cardboard cutouts in the shape of human actors.
Haikyuu: The Dumpster Battle opens with a slow, almost arthouse-movie-esque sequence, with things framed off center or slightly out of frame, where a dispassionate character who doesn't care about the sport of volleyball at all is lost on his way getting to a practice bootcamp and doesn't consider it a big deal. His phone is out of power. And instead of trying to find his way to bootcamp with any urgency, he sits down and we hear the sound of a handheld video game console powering up.
I almost wanted to jump up in my chair and point at the fucking screen, as if Hollywood were watching: It do be like that. In a sequence that's two minutes long at maximum we have established who this kid is, what he's like, his attitude, and what he cares about. Why does it seem impossible for Hollywood to write stories about people? Regular people, working-class salt-of-the-earth human beings? Are they just bad at modeling what those people are like? Do they know any? In lieu of this, I have to conclude that the writers genuinely do believe human beings are either cliches, cartoon characters, or obnoxious.
My working theory is that the ability of western writers to model other human beings seems stunted. The current crop are narcissists, incompetent, or incapable of basic human empathy. Either that, or whatever they put down doesn't survive peer and funding review.
Beyond that, the other takeaway I had is that Hollywood seems to have completely lost the ability to impose any sort of meaning on their stories. I don't mean in a didactic or parable like sense, but I mean in the sort of literal 'here are the story stakes' meaning.
GxK, spoilers, has stakes like the world ending in a new potential ice age. H:TDB is a sports movie about a single lower bracket game in a high school tournament. Somehow, the latter was a story that felt like it had higher stakes. Every hard rally meant something, every small micro-victory and every way characters and their ideologies were tested felt impactful and meaningful.
Whenever I watch a film directed by John Carney, I'm left with this very unsettling feeling. Watching his films makes me feel like he's never actually met another human being in his life, that his entire knowledge of what people are like comes from watching other people's movies.
This wasn't always true of Christopher Nolan (the performances in Memento are remarkably naturalistic in spite of the contrived plot), but has become the case over time. No one in Inception, Interstellar, Tenet or Oppenheimer talks or acts like a real person (particularly damning in the latter case, given that 95% of the characters are based on real people who actually existed).
Oppenheimer was not evenly awful about this, which is the sadder part. A couple of the scientists (and notably Kitty) were fine. Oppenheimer was being portrayed as a weird autist. By far the worst thing about that movie was about how Nolan portrayed his relationship with Tatlock; it was like watching two wooden blocks rubbing together. The infamous Bhagavad Gita line is somehow... a seduction tactic? I vaguely remember some backlash over it.
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