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Dialogue in Video Games

This week I’m going to be discussing Dialogue in Video Games and some of the theory surrounding it, particularly in relation to Ludic functions.  

Dialogue in Video Games can be broken into different levels of communication. Unlike non-interactive media (such as film and TV), Video Games feature two levels of communication. Diegetic Communication - that which happens within the game - and Ludic Communication, which occurs between the player and the game. (Domsch, 2017). Conveying ludic information through diegetic dialogue can further immersion by creating a more realistic experience. For example, see the below video of gameplay from Uncharted: The Lost Legacy (Naughty Dog, 2017). (Timecode:3:47)

In this context, the game uses dialogue (with a mixture of an audio cue and a visual outline) to Notify the player that they’ve been spotted and of the enemy NPC’s whereabouts; but within a diegetic context. In theory, this should encourage a deeper immersion, by communicating this ludic information to the character within the game instead of directly communicating with the player (Domsch, 2017)

An example that could be argued to contradict this is Metal Gear Solid V: The Phantom Pain (Kojima Productions, 2015). This game uses an alerting sound cue and slowed motion visuals when spotted, and although there is still diegetic sound from NPC’s, it’s less obvious than the previous example. The game also uses on-screen text to communicate directly with the player. Watch the clip below for an example. (Timecode: 13:16)

These two contradicting examples tie-in to a discussion about the role of protagonist dialogue in video games. There is an argument that a lack of dialogue from the protagonist can ‘ease identification’ (Domsch, 2017) and therefor immersion. By leaving out dialogue there is a lack of characterisation which some could argue makes it easier for a player to imagine themselves as the hero. However, some have argued that this ‘jarring disparity’ between speaking NPC’s and mute protagonists can cause a breakdown in immersion (Miozzi, 2012). For a good example of these two arguments, it’s worth looking at the difference between Outlast (Red Barrels, 2013) and Outlast 2 (Red Barrels, 2017), both of which are first-person games with no physical characterisation but the latter features dialogue from the protagonist. 

Aside from Ludic functions, dialogue also communicates Narrative information, (Domsch, 2012) particularly in games like Life is Strange ( Dontnod Entertainment, 2015) or games by Telltale Games, where dialogue based decisions dictate how the game is played. Life is Strange is particularly interesting to examine, due to its ‘time-travel’ mechanic, allowing the player to go back and make different decisions, changing the outcome of their story, allowing us to see the complexity of the dialogue tree at work (although this power is taken away at certain plot points, possibly to maintain the challenge of the game). What’s interesting about games like this, is that as dialogue-centric games they have to provide challenging gameplay in a different way, using thought-provoking situations that force the player to make decisions and push themselves to new emotional places (Meslow, 2017). For example, in Life is Strange, the player has to talk another character out of committing suicide by remembering important interactions with the player, and the time-travel mechanic isn’t usable.

The ‘Cinematic’ aspect of these games makes them almost interactive movie’s, which for some players makes a very immersive gameplay experience (Meslow, 2017). 

Bibliography

[XCV //], 2015. Life Is Strange · Kate Commits Suicide (Episode 2: Out of Time). [online video] Available at: https://www.youtube.com/watch?v=NqS2ppt3NQU [Last accessed 24/10/2017].

djostikk, 2017. Uncharted: The Lost Legacy Stealth Combat 2. [online video] Available at: https://www.youtube.com/watch?v=7akerTaO-UM [Last accessed 24/10/2017].

Domsch, S. (2017). Dialogue in Video Games. In: Mildorf, J. & Thomas, B. eds. Dialogue across Media. USA: John Benjamins Publishing Company, p251-270

Meslow, S. (2017). Life Is Strange, One of the Best Video Games of This Generation, Is Now Available for Free. Available: https://www.gq.com/story/life-is-strange-available-for-free. [Last accessed 24/10/2017].

resioil1, 2015. Metal Gear Solid V: METAL GEAR SPOTTED. [online video] Available at: https://www.youtube.com/watch?v=b_3q3JktCjQ&feature=youtu.be&t=13m16s [Last accessed 24/10/2017].