| Description |
The objective of this thesis is to analyze Fumito Ueda's Shadow of the Colossus, Hidetaka Miyazaki's Dark Souls, and Jenova Chen's Journey in order to see how together they represent the storytelling potential of video games. Each embody in their work the notion that games as a medium can convey and develop character, backstory, and plot in ways wholly unique from other artistic medias. Furthermore, these three games demonstrate that this medium is capable of sustaining singular visions, nuanced enough for different techniques and styles to emerge. These game directors that best represent these stylistic differences can be likened to auteur film directors in film theory, in that they possess singular visions and certain hallmarks of design and aesthetic that separate their work from that of their peers. In all three games, the player is thrust into harsh, empty, beautiful worlds that feature themes of companionship, growth, death, and transcendence, with little in the way of traditional dialogue or text. Though each game utilizes different systems and mechanics to accomplish their goals, they share similar themes and motifs that bring them into conversation with one another, and where they share similarities or express differences is where the true depth in analyzing game narratives can be found. These games all tackle themes of philosophy, religion, companionship, personal worth and development, and they all do so according to the life experiences, influences, and motivations of their respective creators. These three developers and their works illustrate the unique potential of video games as an artistic medium, as well as the importance of recognizing the process of game creators communicating their intent to players through their work. |
