While sequences of gameplay were not entirely redundant, the somewhat ridiculous ratio of actual play to watching these cinematics was quite telling. Metal Gear Solid IV as well suffered from a dissonance where the game could easily be divided into moments of distinct gameplay and cinematics.
Most of the key moments in their unfolding relationship took place in periods outside the scope of gameplay, and ultimately what could be boiled down as masked loading screens, whether this was during elevator rides or after Booker had disposed of the hostiles on screen and players were simply waiting for the characters to transition to the next area of their own volition. It is largely why it’s not at all uncommon for a game to deliver the bulk of its characterization, plot development, and emotional drive through sequences of non-interaction.įor example Bioshock Infinite presented much of the characterizations of Elizabeth and Booker solely through recorded dialogue and not through interactions instigated by the player. While the expectation should be that video games would rely upon interactive mechanical systems as its central mode of communication, often it is simply easier to rely upon the standardized languages of these preceding mediums. While a medium of interaction, video games have often relied upon the same devices that carry film or text forward instead of utilizing the very traits that define it.
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