Life Is Strange – The Secret To Its Success

life-is-strange

There are a huge number of things Life Is Strange does brilliantly (and perhaps a few that aren’t so great, shaka brah) but the more I think about it the more one thing stands out. No major plot spoilers ahead, but if you haven’t played it and want to go in fresh, maybe check back after you’ve finished.

So, what’s this amazing thing? No, not the tenderness with which it deals with a huge variety of sensitive topics. Not the casting of the player as the geeky girl rather than the geeky guy pursuing said geeky girl. Not even making the main character a photographer, mirroring the player’s sense of watching events unfold with varying degrees of powerlessness (incidentally, we’ll be talking about all this plus subtext, gender, sexuality and more on the next episode of The Conversation Tree Podcast).

Nope, the best thing about what is, with hindsight and distance, rapidly becoming my favourite game of all time, is the very central core mechanic. It’s Max’s time manipulation power.

Games are stuffed full of characters with superpowers. Look at Geralt and his ability to set things on fire, create magical traps and a shield. How about Commander Shepherd and his/her biotics? Corvo, The Inquisitor, Booker DeWitt’s fistful of crows… Even supposedly normal characters often have superhuman abilities – Nathan Drake can definitely absorb more bullets than the average chap, and shrug wounds off with astonishing ease.

No, a mild bit of time manipulation is not the most earth-shattering addition to gaming culture. Not in general terms at any rate. But who has gained this power? A socially awkward teenager. Which is perfect.

Who gives a monkeys that Booker DeWitt can summon a watery tentacle to fling foes off a flying city – sure it’s fun, but it’s rootless. It doesn’t mean anything. Max’s time travel means everything. It’s the one thing that a socially awkward teen might conceivably most want. Rewind that conversation and be less of a dork next time. Rewind that meeting and don’t trip on the way through the door. Just like the powers in The Incredibles (still the finest of superhero films) Max’s power is directly related to an aspect of her personality.

Not only that, but gaining the power is the inciting incident for the plot. Without that power the rest of the story couldn’t happen. It seems obvious, but happens surprisingly infrequently. Booker could still murder his way through Columbia without his vigors. Geralt might have a tougher time with  just a silver sword, but could give it a good go. The Inquisitor’s glowing hand may be more integral to Dragon Age Inquisition, but it ends up just one of a range of stupendous abilities.

So the power perfectly fits the character and is central to the narrative. Great! I’m sure there are other examples of this though. Life Is Strange’s power has another benefit though…

Ever since choice became a hot topic in games I have had a struggle with myself. I know in Mass Effect what Shepherd did and who he (yup, Shepherd is forever a dude to me) was. I started a replay at some point, and tried to make different choices but… that wasn’t Shepherd. But was there any point replaying if I just want to do everyhing the same way?

I’ve played The Walking Dead season one twice. Season two once (though I reloaded the ending). SPOILERS AHEAD. SKIP PARAGRAPH TO AVOID! I definitely want to replay both but… what’s cannon now? When the third one comes out, who is Clementine? Did she kill Jane? Is Kenny still out there? It’s muddled. I can’t separate out my ‘true’ playthrough from the one where I just wanted to see what the other options were.

Life is Strange gives the player the best of both worlds. Being able to rewind time means being able to make a different choice, to see how events might play out differently. And when you’ve tried all the options, seen what could be, you can make your choice. What would Max do given all the information? It’s not some weird omniscient player reloading to try a better option, it’s an integral part of the fiction. It’s the fabric of the story. There are of course unforeseen consequences. How some scenes play out will affect things much further on, so there is still an element of needing to replay to see everything. But that’s why I think it’s the best of both worlds. The player gets enough curiosity sated to not need to constantly reload and simultaneously there are enough palpable changes that you still wonder what-if. You can still see your impact on the lives of other characters.

Not only that, but this also enables better immersion in the game. Exhausting conversation trees in rpgs and talk-em-ups can sometimes feel very strange. Why does the other character suffer through your incessant questioning, particularly when you start looping back through questions to get to different sub-questions? In Life is Strange you can try out all the conversation options while still remaining in the fiction. Super-Max can simply rewind time and try something else.

Effectively this all comes down to obstacles. As a player, using the time power to try different options removes an obstacle to immersion and developing a fully rounded sense of character. As a character Max uses her power to overcome  her own personal obstacles. And not just the big plotty stuff. Max starts crippled by self doubt and shyness. By the end of the game she’s confident. She’s a badass. That’s how to weave game mechanics into a narrative and that’s one of many reasons Life is Strange may well be my favourite game.

@BornToPootle

@TheConvoTree

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A Sketch and A Podcast

I’ve got a couple of exciting developments to report, which makes a nice change!
It’s an oft-used mantra that creativity comes from adversity. I haven’t really noticed a direct correlation in that for myself, other than a bout of songwriting while I was deeply unhappy in my late teens/early twenties. However, that’s all changed!

Like many of my friends, I’ve been bemoaning the recent political developments in the UK. So much so, that I put pen to paper and wrote a few topical/political sketches and songs. After a couple of non-starters I sent some sketches over to NewsRevue.

If you’re unfamiliar with NewsRevue, it’s a theatrical topical sketch show at the Canal Café Theatre that has been running for two decades. Every couple of months the cast and director are refreshed, and sketches are chosen on a weekly basis, or more often depending on what’s going on in the news. I even had an unsuccessful audition for their cast many moons ago! If you’re London-based I’d recommend heading down, it’s always a fun evening.

Anyway, the first bit of good news I’ve got to report is that one of my sketches was used. So now I’m a performed comedy writer, which is pretty cool. Just one sketch for now, but it’s a nice boost in what’s been a relatively unsuccessful year writing-wise.

On to the second exciting thing – I’m co-hosting a new podcast. You’ve no doubt noticed that my most recent few posts have been about videogames. Well rather than hijack my blog to be primarily about games, I’ve set up The Conversation Tree Podcast with my partner in crime Lydia Palmese.

We’re both narrative junkies and will be focussing more on analysis than reviewing per se. We’re particularly interested in how games reflect society and vice versa and will be looking at mixture of old, new, and upcoming titles. Given that we’re avid cinema-goers we’ll also be tackling films in the same vein to a degree, and even some of the odd events we pootle to around London town.

You can find the first episode of the podcast here or over on iTunes. Over the coming weeks I’ll work on getting it up in a few more places besides. You can also follow @TheConvoTree on Twitter if you’re feeling sociable (as well as my @BornToPootle account if you haven’t already). New episodes will be up every fortnight and feedback is more than welcome. We’re both new to podcasting, so tips will be gratefully received.