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A hero will always have something to say, but not every hero has a voice. Once utilized simply due to technical limitations in video game development the silent protagonist has come a long way. The strong, silent type used to prevail in early video games and has set the standard of how relationships between the player character and supporting cast members are presented. How the speechless explorer is handled has a significant effect on the game as a whole. [img width=620 height=403]http://bulk.destructoid.com/ul/user/4/46407-233454-Jayandsilentbobjpg-620x.jpg[/img] There are two principle versions of the silent protagonist: the mute and the secretive. The first case presents a player character whose dialogue is neither displayed nor implied. The descendent of Erdrick in Dragon Warrior is an exemplary mute hero. These protagonists react to the world and those who inhabit it, and ultimately enable the player to become immersed in the character and story. The benefit of this is that the player can form his or her own thoughts and emotions concerning in-game events which makes the experience feel less scripted. However, if handled too lightly the mute adventurer can be perceived as nothing more than an errand boy. This usually comes about when the player must complete tasks assigned by supporting characters that repeated fail to achieve any seemingly significant plot development. A secretive protagonist is in many ways a solution to the problems that arise from a completely mute hero. Here, the player character's lines are implied or referenced by the supporting roles. Link is one of these protagonists in that even though he does not technically have any lines of dialogue the character with which he is conversing will react as though he had just said something. Similarly when the secretive character is supposed to speak the game will prompt the player with a Yes or No question. Using this type of protagonist allows for strong bonds to form between the player and the hero which in turn allows him or her to become more real and relatable. This scene from The Legend of Zelda: Ocarina of Time displays the traits of a successfully executed secretive protagonist. I know Zelda isn't an RPG, but this scene gets the point across. Successfully utilizing a silent hero allows the character to be infused with courage, honour, steadfastness by the player. The character that keeps calm when thrown into the fray of battle, clear and conscious while traversing a dungeon is more often than not an adventure with no real lines of dialogue. The silent protagonist works to varying degrees, but what this sort of character proves is that a person's actions speak volumes. Of course these voyagers are burdened with immense responsibility. This is why the silent protagonist fits so nicely in the Adventure genre, especially in the RPG. The player learns that when faced with opposition what he or she does is equally important as what can be said. We can also gather that the nature of responsibility itself is often something which we would rather avoid, but by approaching the situation head on with determination and a clear mind success is never out of reach. Despite not being able to talk the quiet hero has a lot to say.
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Interesting subject Fleach. I loved the Half-Life series because of the mute character you play as. Theirs just something about that that keeps the game flow unique. I can't recall many modern games I've played where the character was mute.
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Half-Life is good example of a silent protagonist. I like how because Gordon Freeman doesn't talk you can really explore and learn about the game's setting and characters. Funnily, players can also go too far with the silent hero like this: http://www.youtube.com/watch?feature=player_embedded&v=a7mihllgiro
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The Silent Service protagonist, am I right? ... Sorry, Fleach, promise it won't happen again.
I think more often than not I enjoy my silent protagonists - in the right setting. For example in my JRPGs I was never a fan of the silent protagonist, preferring my heroes to have dialog and personality to go along with the story, but in many other games I enjoy the way the exposition is delivered in games with a SP. I hate to be subjective, but I don't even think there is a pattern to follow as to what works and what doesn't. It really depends on the game and writer.
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I just don't know what to say about silent protagonists.
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I have no problem with silent protagonists. I often feel that they're better for the story anyway.
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I know that voice acting can provide movie-like experiences but my preference lies with the silent protagonist. Although I think having choices of what the main character can "say" is a cool option.
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The 'voice' (and if it exists or not) of a player avatar is as important an element in video game storytelling as art design or music and sound effects. It is definitely apparent that a game interested in giving a narrative needs to have as much attention to an avatar's silence as it would if the character was speaking. Some brilliant (IMHO) examples of late are Bioshock 1/2/Minerva's Den, where each is a different story with a protagonist who's identity is later revealed to be a crucial tie-in to the story, and their respective silence is explained to different degrees of detail. Dead Space gave a few hints to Isaac Clark's character in the first Dead Space, and reveals late in the game help explain his silence. Others include a fourth wall break that changes the nature of our 'understood' role in playing the game, including of the excellent Panzer Dragoon Saga, Contact on DS, and the criminally unknown Pathologic.
Silence can be a powerful tool in gaming narrative, provided it is given due care. Going the opposite route, such as in the Metal Gear Solid series, also has its share of benefits and frustrations inherent in the design. We are being told the story in a similar fashion to movies, with more limited interaction. This is perhaps an appropriate method for some game stories, with immersion sacrificed for narrative design. Undoubtedly not the best way to use video games to tell some stories, but this linear scripting does have the benefit of expanding detail while making sure the player is focusing on narrative. A preference about this methodology of story delivery goes a long way to revealing a gamer's preference for 'Western' (Elder Scrolls, Fallout 3) style RPGs versus 'Eastern' or 'J' RPGs (Final Fantasy, Dragon Quest.)
In writing, some stories are best told in first person, others in third; the first is more personal and immediate, the other more easily detailed and holistically comprehensive. Some games, such as the 7th Guest, even play a bit with both. The best game stories pay attention to which better tells what the game intends.
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"Voiceless" characters certainly allow for greater immersion. It's a narrative tool that allows the player to feel like they're in the game and gives a chance to focus on the story and character interactions. It's also a great way to learn about the main character through the reactions of others. I find this also makes the player have to think more. No spoon fed stories here.
Voice acted characters aren't worse in any way. Like you said, it's a stylistic choice and one that's mind with the narrative in mind. I feel like this results in a case where you have to work for your chunks of narrative. Cutscenes in voice acted games are always so rewarding.
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I haven't commented on your blog yet, but i love it. Keep pumping them out.
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@RetroRage: Thanks! Glad you're enjoying the blog.
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Like Retrorage, I haven't commented on this blog either, at least 'til now. I did spend a bit of time thinking about the topic and the other comments. Good stuff.
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Role Playing games are my favourite genre of the gaming library. I feel it is appropriate to take a look at the games that have touched me in my time as a gamer and collector and share them with the community. Feel free to discuss your thoughts, ideas, and challenge my opinions. The conversation is welcomed. |
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