Cutscenes in Computer Games as an Information System Daniel Říha Faculty of Humanities, Charles University in Prague, Czech Republic [email protected] Abstract. While computer game´s cutscenes are predominantly used for a cin- ematic narrative development, in many computer games cutscenes might serve not only as a basic orientation hint about next level in a gaming environment but might play a role of an information system. This contribution will discuss the eventualities to understand cutscenes and their implementation in a gaming environment as a sort of an information system useful for the interpretation and reconfiguration performed by the player with the respect to the rapid prototyp- ing for serious games. Further, will be briefly discussed the potential to author the cutscenes for a sample concept of a serious game (documentary computer games) in the rapid animated movie production tool Moviestorm. Keywords: Cut Scenes, Computer Games, Documentary Computer Games, Moviestorm, Creativity, Gameplay, Machinima, Digital Filmmaking, Visual Communication. 1 Introduction In this paper, I will discuss the eventualities to understand computer games cutscenes and the implementation in a gaming environment in a role of an information system that shall be useful for the interpretation and reconfiguration performed by the player with the respect to the rapid prototyping for serious games. Further, will be briefly discussed the potential to author the cutscenes for a sample concept of serious game1 in the rapid animated movie production tool Moviestorm. Conceptually, the gamespace might be understood as a virtual knowledge space. Strauss and Fleischman define knowledge space as ‘architectural space furnished with data’, where the user is not understood only as the protagonist, but also ‘the producer of knowledge through interaction.’ [1] The interactive 3-D space then might be expe- rienced through perception of 3-D space with the exploration of data and production of knowledge through active experience. A cutscene is an inseparable part of the gaming experience. King and Krzywinska, propose that a cutscene to be used to ‘provide clues or to establish enigmas that have a bearing on the narrative trajectory of the game.’ [2] Markku Eskelinen states that ‘the dominant user function in literature, theater and film is interpretative, but in games it is […] configurative.’ [3] 1 A genre of documentary computer games and newsgaming. A. Marcus (Ed.): DUXU 2014, Part II, LNCS 8518, pp. 661–668, 2014. © Springer International Publishing Switzerland 2014 662 D. Říha Chatzizacharias and Windig identify one of the biggest problems with cutscenes, a situation where ‘the player can do only one of two things at a time. The player is either involved in a configurative practice or an interpretative practice.’ [4] According to Rune Klevjer, a cutscene in the computer game ‘does not cut off gameplay.’ [5] He recognizes a cutscene as ‘an integral part of the configurative expe- rience. Even if the player is denied any active input, this does not mean that the ergodic experience and effort is paused.’[5] Klevjer emphasizes that a cutscene is ‘serving gameplay functions that cannot be taken care of through other means.’ [5] So, a cutscene might be understood as a sort of middle ground between ludologist and narratologist position in studying computer games. Cutscene (in computer games) is ‘a scene that develops the storyline and is often shown on completion of a certain level.’2 Cutscenes in computer games are designed using the latest available technology for a creation of attractive rendering effects and styles and usual conventions of a film industry alike. Kurt Squire identifies cutscenes as a useful technique for creating a context, ‘The first thing that games do is create an emotionally compelling context for the player. Many games use cut scenes, short movies designed to situate the player in the game world and context.’ [6] While computer game´s cutscenes are predominantly used for a cinematic narrative development, in many computer games cutscenes might serve not only as a basic orientation hint about next level in gaming environment but might be understood as sort of an information system3 that helps the player to learn important information to be able to win the game. 2 An Utilization of Cut Scenes Hugh Hancock discussed a cutscene as a computer game feature that might ‘make a game's world more real- not just by telling a story, but also by reacting to the player, by showing him the effects of his actions upon that world and thus making both the world more real and his actions more important.’ [7], so this is the function of reflec- tive re-play. Hancock lists the following utilization categories of cutscenes: conversation scenes, information dump, scene and mood setting, reward, introduction of plot or gameplay elements and pacing. In the context of consideration of cutscenes as an information system are the most important categories - information dump and intro- duction of game elements. 2 Oxford Dictionary: http://www.oxforddictionaries.com/definition/english/cutscene 3 Information system - any combination of information technology and people's activities using that technology to support operations, management, and decision-making. Glossary - Carne- gie Mellon® Software Engineering Institute (SEI). http://www.sei.cmu.edu/publications/documents/ 03.reports/03tr002/03tr002glossary.html Cutscenes in Computer Games as an Information System 663 Cutscenes in this case might help to reflect previous play-time play and visualize the results of gameplay. For game designer it is very important to consider as well the category of pacing of the game. According to Hancock, ‘briefing scene can move into action with a cut to a faster-paced scene or the introduction of elements which change the pace’ [7] and so designed cut scene will be ‘allowing the player's perception of pace to change in accordance with the game designer's intentions for pace at this point.’ [7] For Klevjer, a cutscene offers a feature of ‘a surveillance or planning tool, provid- ing the player with helpful or crucial visual information’ [5], what changes the struc- ture of the ludic action. Further, he argues about the feature of ‘gameplay catapult’ as a convention that’s ‘building up suspense and creating a situation.’ [5] We may recognize two categories for a cutscene design: in-game and prerendered cutscenes. Hancock has identified main advantages and disadvantages of implement- ing both types of cutscenes in computer game design: One advantage of an in-game cutscene, from a game-efficiency point of view, is that it can start up instantly, avoiding the load time required when playing a prerendered cutscene. .. Don't underestimate the time it will take to get in-game cutscenes working in your game. Prerendered cutscenes are little movies, and they exist as individual frames that are created outside of the game engine. … One advantage of prerendered cutscenes is that they don't re- quire any programmer time. Making them is a known process and one which affords the artist a lot more control over the product. [7] For smaller-scale and indie computer game projects, as one example a further dis- cussed concept of documentary serious game, in-game cutscenes might be often too costly to utilize. Similarly, prerendered cutscenes designed in professional hi-end animation packages, might induce higher costs and prolong a production time needed for finalizing the game development. In the following paragraphs, I will consider the prerequisites of an implementation of rapid animation prototyping software to in- crease the productivity in small-size computer game production with a respect to the production of cutscenes. 2.1 Game Heuristics Related to the Design of Cutscenes Pinelle et al conducted a research study with a goal to deliver an evaluation of the computer game-related heuristics that might recognize game-specific usability prob- lems. The selected 4 heuristics might be shared to reflect upon the utilization of cutscenes: 4. Provide unobstructed views that are appropriate for the user’s current actions 5. Allow users to skip non-playable and frequently repeated content. 4 Quoted from the Table 2, p. 1458. Game heuristics. Each heuristic is listed along with a paragraph describing how common problems can be avoided. 664 D. Říha 8. Provide users with information on game status. 10. Provide visual representations that are easy to interpret and that minimize the need for mi- cromanagement. [8] We can accept and derive from Pinelle´s et al research study several recommenda- tions useful as well for a design of cutscenes; cutscenes should not be too lengthy, as this would interrupt the agency and gameplay. A replay in cutscenes often offers the reflection on the game´s status. Users shall be not forced to seek interactively for information, what in the case of prerendered cutscenes would be even possible, and finally, ‘The game should provide views that allow the user to have a clear, unob- structed view of the area, and of all visual information that is tied to the location.’ [8], what, in the case of disregard, would lead to the player´s confusion in game-action. Also Adam Schnitzer identifies several issues that shall be avoided in a cutscene design: • Confusing, unnecessary cuts • Hyperactive camera work • Violations of basic rules of screen direction • Shots that don't effectively express story points • Indifference to lens choice • Inattention to continuity [9] Schnitzer then argues about list of the roles that cutscenes might have within the computer game production: •Advance the plot and give meaning to the dynamic progression of the game. •Define the beginning and end of a game level. •Give the player a reward. •Introduce gameplay elements and provide the player with necessary clues. •Set the Mood. •Define the mythology of the game. •Marketing, the secondary purpose of cutscenes. [9] In a context of cutscenes considered as an information system, the most important category to be introducing of the gameplay elements and providing the player with necessary clues.