Fair Warning: There are game spoilers contained in this article (specifically for Grand Theft Auto IV). If you haven’t played GTA4 by now, but you don’t want to have the ending revealed, then, um. . . seriously, dude, it came out like a year ago. Too bad.
A few months ago, the boys over at Penny Arcade made a mostly off the cuff comment in one of their podcasts, pointing out that game reviews often use the term “linear” perjoratively – as if calling a game linear holds the same negative connotations as calling it bland or ugly or poorly designed. And I suppose, within the bubble of that world, I can understand why linear has become a dirty word in gaming.
It gets trotted out whenever a reviewer has about a line and a half to convey the idea that the developer put minimal effort into anticipating the desires and the actions of the gamer. Linear, in its genuinely negative context, doesn’t mean that all non-open ended games are bad, but it’s become such a popular buzzword that many great yet linear games get the shaft.
For a long time, linear gaming was the only and obvious choice. The paddle in pong moved up and down. Mario could jump over the barrels and collect the hammer. Pacman ate dots. And then he ate some more freakin’ dots. These were games of limited structure because the hardware offered no alternative, and gamers happily lived inside of those bounds. The first true attempt at a non-linear game was probably text-based adventures. It was the first instance of a programmer sitting down and trying to think of a way to anticipate the things that a player would do with a non-finite set of inputs. But even in text adventure gaming, that non-linearity was an illusion. You did have finite inputs, and any time you breached those bounds, the game would dutifully report that you could not get ye flask.
The open-endedness was a lie. The choices were really not so much choices as they were a branching tree of potential outcomes that you drilled down through. They were essentially choose-your-own adventure novels without any indication of which page to turn to next. The advantage was that these sorts of simple, simulated worlds offered a vastly increased number of pages to turn to, and it was up to the player to figure out all of his options. The disadvantage is that the game had to have a catch-all response for when the option you invented didn’t match the limited grammatical parameters of the game’s logic. And sometimes that grammar was stunningly limited.
But those games didn’t just present an illusion of choice in terms of the inputs (why can I “climb up ladder” but not “climb ladder”?). They also meted out a player’s options and choices very unevenly. Far too often what seemed like innocent, obvious actions and motions would lead to a page full of text that ended with something like “You have died. Final Score: 6/250″. The frustration of those sorts of games came when players pierced the admittedly thin veil of suspended disbelief and spent more time playing with the mechanics of the game than playing the game itself.
And then, for a very long time, open-ended games went out of style. They held on for a while on the PC in point-and-click adventures. King’s Quest, Maniac Mansion, Sam & Max and, of course, raunchier fare like Leisure Suit Larry. These games quickly circumvented the need for actual game grammar by providing the player with limited inputs, and the advent of actual, moving graphics made it much easier for a player to understand why ye flask was un-gettable. But this was all just a long-armed end run around the necessity of having an actual, live human being moderating the game experience (like in most tabletop games).
Even today, the task of simulating a human being for rudimentary gaming purposes is beyond the hardware we play on. That’s why I’ve been told for the past fifteen years that the AI in my games is going to be very clever, and it usually winds up cheating its way to superiority. That’s why most MMOs have such rigid questing and leveling structures in place, so that it almost sort of maybe feels like a crappy DM on autopilot is handing you out busywork.
That’s why so many people became wowed (and then eventually disillusioned) at the Black & White series, which promised you an AI at least as smart as a badly trained house pet. Five hours of trying to teach it not to eat its own poop later, most people realized that they more or less nailed it on that one. And that’s why rooms full of otherwise educated adults stood in awe at E3 this year while a woman pretended to talk to a scripted child about a pond – a demonstration I’ll believe when they can pull it off with a random audience member and not before.
All of these things are attempts on some level to take the automation out of gaming. To make games less linear and pre-ordained. And even when they succeed, they’re still a lie. They’re no different than the old text adventures we used to play years ago. Never has this fact been more impressed upon me than when playing Grand Theft Auto IV. As the undisputed heir to the sandbox throne, GTA4 promised its players a living, breathing simulation of New York City. And its recreation is remarkable. The city is full of cars and people and events and activities.
Except it isn’t. But the genius of the game is in covering that fact up. I’d say that for about 80% of my playing experience, I didn’t notice just how empty and lonely the city is. Mostly because I always had stuff to do. I had some schmuck who wanted my help with his wife, or some guy who needed me to collect money, or a car that just had to be stolen or an immediate family member that was once again kidnapped. But as I played through the game, it became obvious which quests were optional stuff and which ones would advance the main plot. And as a reasonable completionist (which means I want to experience all of the content, but I draw the line at un-fun busywork), I wanted to make sure that I got all of the side missions and activities taken care of before I closed out the story.
So once I narrowed the main story down to one final set of missions, I did everything else. I took care of all of my side jobs. I hooked up with all of my girlfriends (one of whom needed a crack upside the head, to be honest). I got my friendships up enough to feel accomplished without having to play the fucking darts game for a day straight. And then I zeroed in on the last set of missions. Which was apparently a bad idea because that last set or so had a lot of lag time between individual tasks. Time I suppose the game expected me to fill tying up other loose ends, so they gave me no way to advance the plot any faster than the game wanted so.
So sometimes there’d just be time to fill between activities. I’d go to my apartment, I’d drive around the city, but it was all just listless drifting. Even most of the NPCs wouldn’t answer my calls – presumably so that I’d be ready for the next mission without interruption. Suddenly Liberty City ceased to be a sandbox and was really just. . . nothing at all. But honestly? That’s not what shattered the illusion for me. What broke the game was the decision before the wedding mission. You essentially have two choices. You can either cause Kate to dump you and let Roman die, or else you can do the “right thing” and have Kate get killed for it. Those are your options. That’s it.
All of the badness happens in a cutscene, and there is no way to prevent it. No way to take out both Jimmy and Dimitri beforehand (which honestly, I wanted to do anyhow because they were both pricks). No way to set up a barracade or take down the car before they drive by. No way to stop another character in the game from dying because of my actions.
And yes, I get that the game is making a statement about consequences. That these events are meant to be contrasted against your decision about whether or not to kill Darko (for the record, I did not) and whether to deal with Dimitri (for the record, I took his ass out first so Kate died in my game). It’s a powerful and interesting reflection on the choices that we make as human beings, and how we let those choices dictate what we become. It’s probably one of the most interesting and emotionally complicated cutscenes since FFVII – at least it was for me, because I really liked Kate. And it was decidedly and absolutely linear.
Yeah, I said it. The grand-daddy of sandbox action, Grand Theft Auto, went all linear on us. In the end, the only choice we had was who the target of Niko’s anger and vengeance would be. We had no say in what Niko was, or what he would once again become. Don’t get me wrong – I wanted to kill Jimmy big time. But I couldn’t NOT do it. In fact, his execution happened in another cutscene, unlike every other execution in the game. I could not choose to be a better person.
And that problem wasn’t isolated to just the final chapter of the game. There were plenty of times when Niko took part in situations that just didn’t jive with either my interpretation of his character or even with the character that he actively professed to be. There’s a side mission when a man stabs his wife to death because he thinks she is cheating on him, and you know that’s not the case. At that point in the game, my reaction was to let fly with some vigilante justice and pop him right back. But he pays me to cover up the murder and my only option is to agree. In that case, I wasn’t even presented with the Obviously Good and Hideously Evil sort of moral choice that so many games like to foist upon their players (I’m looking at you BioShock, as well as Every LucasArts Game Where You Use A Lightsaber).
But in playing through the game, and then going back and rethinking where GTA4 takes the player, what I eventually concluded was that linearity is a function of statement. Even with the budget and man hours spent making GTA4, there were only so many player variables the game could adjust for. And the ability to make that statement about the inevitability of a person’s actions dictating their future wouldn’t be possible without forcing those consequences on the player. Rockstar essentially presented the player with their own, gangster style Kobayashi Maru. Any like anyone who might find themselves in that situation, I resented it.
Though it does speak in another way to the many critics of the series, who feel that GTA glorifies violence, crime, murder and lawlessness. There are no happy endings for Niko Bellic. His choices and his lust for revenge will always lead him, in the end, to a no win scenario. From a narrative standpoint, GTA4 has an incredible ending. From an actual gaming standpoint, I actively hate how the story resolves. And that, honestly, is the best argument I can make in favor of linearity in games. If we want games to be a legitimate medium for conveying ideas and thoughts, there simply has to be a narrative. And for there to be a narrative, there must be a linear structure.
That doesn’t mean a lack of choice, or that the world must be broken into stages (though Bionic Commando accomplished this nicely). It also doesn’t mean that the choices have to be so stark as to spang the player across the head with a shovel of foreshadowing – though without that foreshadowing many gamers will complain that they game went in a direction they didn’t want it to because they weren’t presented up front with the consequences of their actions, and will likely just re-play the offending sequence to get the desired result. In a lot of ways, that’s no different to most gamers than retrying a failed mission or loading up a saved game from before they died.
Balancing a game around the player’s enjoyment and the easy access of a metaphorical reset button compared to the need to actively place the player’s characters into undesirable and even permanently debilitating situations just about has to be linear, or else the game’s narrative loses the capacity for character development, and the right choices simply become a matter of optimal play. The game goes from speaking to the consequences of actions to being a puzzle or logistical problem to be “beaten” by the player. Without at least some degree of linearity, games will always be just nothing more than games. So question that word, that judgment, and that context when you hear it used negatively. Because very often, the linear elements of games are what make them great.