“There’s actually a big argument in the video game discussion world over whether the most purely cinematic features of some video games–narrative cutscenes used to advance the storytelling–actually interrupt the sort of immersion and identification you describe. You can’t actually make John Marston do anything. There are several things Marston does (in cutscenes) that you can’t stop him from doing, unless you decide to totally neglect advancing the story. In fact, as I noted, once Marston goes back to the ranch, you can’t even make him change clothes.”

I think Red Dead Redemption is an example of a transitional game. It’s neither fully cinematic nor fully player dictated. I suppose what I meant by “You become attached to characters like John Marston because you are John Marston. You control his every move” is that the storyline moves ahead only if you choose to move it. You can spend hours doing absolutely nothing if you want. Going to the store, watching the sunset, etc.. You get to spend time with him and his surrounding environment. I probably could’ve said it better/more clearly, but I wrote this piece through the foggy haze of half-sleep. : )

As for the cinematics interrupting immersive gameplay, I suppose I view them more as rewards for gameplay. But some of the cinematic elements I eluded to only add to the immersion, like the music cue I mention at the beginning of the piece.

I think that the more games merge with movies the more their stories will improve. I haven’t played them (yet), but I’m told Mass Effect & Heavy Rain are essentially movies already. Do we forgive weak story telling when there’s good gameplay/graphics? Absolutely. But I never said films and games should become one. I just think that the film world has more to offer games than visa versa.

There’s actually a big argument in the video game discussion world over whether the most purely cinematic features of some video games–narrative cutscenes used to advance the storytelling–actually interrupt the sort of immersion and identification you describe. You can’t actually make John Marston do anything. There are several things Marston does (in cutscenes) that you can’t stop him from doing, unless you decide to totally neglect advancing the story. In fact, as I noted, once Marston goes back to the ranch, you can’t even make him change clothes.

I think it’s no surprise that Super Marios Bros> makes for a lousy movie, since it’s a game with essentially no story. But what do you think it says about the quality of the stories that games tell when even a game like Silent Hill makes for a disjointed, confusing film?