I finished the fight last night (after losing 2 hours of progress by not saving). My friend Reed made a comment about the way I was speaking whilst playing Halo 3. You see, all of the commentary I was making about the game was in the first person. I was saving humanity, not Master Chief. In a sense, I was master chief. This is a technique video games can employ to create a strong narrative in ways that film and literature never can.
When you watch a movie or read a book (other than a choose-your-own adventure, which I’m not counting), you’re being told a story about someone else. This doesn’t mean it can’t be a great story, but it’s still a story about someone else. Even so, if you look at many of your favorite books and films, you will find that you probably identify rather strongly with at least some of the major characters. You may not realize you do, but on some level, those characters you like you probably unconciously see as a kind of alter-ego of yourself, based on character traits of that persona. The more strongly you identify with a character, the stronger your emotional connection will be to the work.
Unlike in film and literature, protagonists in games can be very vaguely defined. Creating a vague definition of a protagonist is a tricky thing. If done well, the player will project their own thoughts and feelings into the void of your protagonists character. If done poorly, the player will fail to identify with your hero at all, and as a result feel no emotional attachment to the situation the character is in, and therefore the narrative of your game.
There are two major ways in which video games can create vague character definitions. The first is to not show the player what the character looks like. Master Chief has a helmet on, at no point do you ever see his face. Jack from Bioshock is not obscured in any way, but because the game is always shot from the perspective of jack, and all the mirrors in Rapture are conveniently broken, you never see what he looks like. This goes a long way to helping the player identify with the protagonist (because if you could see his face, he would look like you!).
The second method is to limit or completely curtail the protagonist’s dialog. There is a long history of silent protagonists in video games with rich plots for this reason. Examples include Link from The Legend of Zelda, Gordon Freeman in Half-Life, Jack in Bioshock, Chrono in Chronotrigger, Ness from Earthbound, and Cloud Strife from Final Fantasy VII. The technique is not as simple as abstaining from dialogue, as identification requires traits to create an emotional connection. The trick to this technique is to use the other supporting characters to suggest a variety of traits the hero may possess (without spamming the entire continuum of character traits). If done well, the player will latch on to those which suit his fancy and ignore the rest.
Creating a vague character is not the only way to get players to identify with your protagonist, but it is a way that works for a broad spectrum of people. Idenification with the protagonist does not ensure the game will be loved either, but it does help to bring about a strong emotional reaction. If the character you identify with suddenly starts acting in a way inconsistent with your views, or if the work as a whole doesn’t meet your standards, you will probably hate it - but at least you have strong opinions one way or another. On the other hand, it’s difficult to love the narritive in a game if you don’t identify with the main character.
