Time to Power Up: Structuralism in Videogames

Hey, Max here with a quick check-in. Today I’ve decided to tackle structuralism in a medium not often discussed, videogames. Videogames are a very new medium and only recently have begun to receive academic acknowledgment and support, and even still it is fleeting support. In many cases it is determined that videogames are not art in the same way that movies, music and books can be. I would argue this is wrong as many newer games are aesthetically pleasing and plot driven enough to rival a painting or movie narrative. Recently, a game such as BioShock attempts to draw on real human emotion throughout the game play. Furthermore, games like Super Mario Galaxy can only be described as “pretty.”

Now with videogames, structures are more apparent within the actual construction and style of game. For example, a first person shooter style game has a very distinct structure. You are the hero of the game and use a first person view through their eyes. There is a main enemy and you need to get to it, kill it, and more times than not, save the world. Now first, one can see that perhaps not on intention, but by accident, these styles of games partially use Campbell’s hero’s journey. Especially the different characters that I outlined in previous posts. Perhaps not all are used but in a game there is typically the hero, a mentor figure, some jesters and definitely a villain. Additionally, in more futuristic style games there may be a special force that you as the main character harness. Now by adhering to a first-person shooter style structure, a video game company can ensure that a gamer would like their game because he or she is already accustom to the first-person shooter style. Leading to a consumer to say, “oh man, another first-person shooter, I gotta get that game.” In the videogame industry however, I would argue that structuralism is important and if anything, crucial. This is because there are set videogame structures that work well for gaming. By using these consistently gamers know what to expect. The flip side here however, is that the first-person shooter style game has been overdone so many times that they have become homogenized and standard. It is important for videogame production companies to utilize not only set structures, but innovate upon these ideas. Examples of innovation (not only in first person shooters) include:

BioShock: In the game you can change the hero’s DNA and the game also offers a choose your own story style narrative

Call Of Duty (any): perfected the war style game

Super Mario Galaxy: Pushed the boundaries of gravity, and 3D in the gaming world

Pong: by default, as the first home gaming system

Rock Band: took music style games to the next level with interactive guitar, microphone and drums

The Sims: First game of it’s type. Allowed players to create a new version of themselves and live out a fantasy life

Spore: A game not released yet but promises to be the most innovative game ever. You create a species and watch it evolve and adapt in a growing environment, starting out as just a spore.

And that’s just to name a few, as many games have helped shatter pre-existing structures.

It can also be noted that videogames are a great example for langue and parole. The langue can be seen as the game itself. The levels, the physics engine that controls the rules of the environment, the ranges of motion a character has, etc. All of these can be seen as the rules that govern the game. YOU are the parole, as you move throughout the game and play, work and operate within the confines of the games langue.

Finally, it can be seen that structures in games are most apparent with games that spawn sequels. For example, the Halo series has become quite structured and standardized. Halo 2 differs very slightly from Halo 3 other than new levels and a few new weapons. On the whole they are shockingly similar as the narrative and game play do not change very much. Bungie (creators of Halo) have mastered a formula, not much different than Campbell and use it to create countless Halo games that amount to huge profits.

An even better example may be the Super Mario series. Here you are ALWAYS the hero, Mario. You ALWAYS have to save the princess. You ALWAYS, encounter the same villain. The only change Mario has ever made is that he has moved from the 2D Nintendo and Super Nintendo to the 3D Gamecube and Wii. Here are the characters that Campbell outlines and their Mario incarnations.

Hero	Mario
Mentor (Magician)	N/A
Goddess	Princess Peach
Villain (the Dragon)	Bowser
Rogue	Luigi?
Jesters & Tricksters	Luigi, Toad
Magical Power	Power of the Mushroom

Clearly structuralism exists within gaming, but to what extent and to what force is to be determined.

News and Notes: Some Baudrillard, because we all love hyperreality!