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[Some minor spoilers on Persona 3 and Suikoden V, perhaps?]
At heart, videogames are and have always been little more than movies and books combined together, yet there is something more. The element that differentiates this medium most is interactivity. This is why we become attached most to the characters we incarnate within the tale, be it a tale weaved at every step we choose or us walking down fateful alleys that have already been designed for us to walk through, it doesn't matter... or does it? Many problematic issues arise with the inclusion of interactivity in an otherwise mundane tale, but of all these, the one that perhaps affects us the most is choice. Be it the illusion of choice or the actual power to make them, the impact they have on us is undeniable.
Despite what some may say, there are roughly two categories of stories when it comes to choice, or should we say degree of interactivity? Either way, the categories are divided by the extent to which choice truly does affect the tale told before the eyes of the player. Is it merely an illusion of choice, or does the player truly holds within his hand the choice of the path the protagonist shall take? That is indeed an interesting subject. Regardless of the degree of interactivity offered by the gameplay, there is something charming, entrancing even, by the power of choice bestowed upon you when it directly influences the storyline. This is why, for example, visual novels are so popular among some of us. But let's run astride our subject, what makes choice such a reoccurring device in the plot of many RPGs? Perhaps it is the ease with which one may identify to a protagonist when their actions are solely determined, on a general scale, by the decisions, values and personal feelings of the person behind the controller. In any case, there is something to be said about some of the recent efforts in this domain such as Shin Megami Tensei: Persona 3 of Atlus fame and Suikoden V of Konami's gaming catalogue.
Persona 3 is a decent case for the power of choice as an identifier, in that every single choice of the protagonist affects either the gameplay or his identity in the eyes of the player. If the player so desires, the protagonist, who is silent and nameless until the players comes into play, may be anything from an unconventional and manipulative bastard who only seeks the thrill of power and control all the way to an humble and gentle soul who is far too honest for his own good. Although one may argue the gameplay rewards manipulation over honesty, this editor would like to think that this is part of the experience, part of a larger scope. This editor would like to see it as a social commentary of sort on society and on human nature itself, among other things. Be it in the S.Link system that directly affects gameplay on a transcendental level, as the personas represent a distinct part of one's own psyche, or the otherwise completely freeform nature of dialogue as far as the protagonist is concerned, Persona 3 is a game that emphasizes choice and responsibility as extremely important themes. To gain proof of that one needs look no further than the beginning of the game, as the contract signed by your own hand to determine the chosen name of your protagonist reads so "I choose this fate of mine own free will." This is without doubt a game which wants you to feel that you are the sole decisive force behind your personality, and ultimately, your fate. Perhaps more than anything else, this element, profound and hard to grasp, is reason enough for the player to feel involved in the story of an otherwise silent and featureless doll whose sole use is to be one's avatar within the game.
Then comes another style of choice, this in Suikoden V which is not only completely linear but features precious little obvious choice, obvious being the keyword here. See, the protagonist's personality and his tale are mostly predetermined, as well as the path you shall take through the game. Yet, even so, there is the illusion of choice. The choice to recruit who you desire, the choice to be a cynical, jaded, royal brute or perhaps even a timid wreck, it's there, if you so desire, but there's nothing that affects the story strongly on an emotional level, beside perhaps a few key choices that may lead to an alternate Game Over. Still, the struggle there holds undeniable themes of responsibility and choice in face of adversity, reminiscent of Persona 3 and other games in the genre of the same caliber. These reoccurring themes are far from a coincidence, this editor believes, for they hold the key to the roleplayer's soul. Roleplayers per se don't desire real power over their world, although it is appreciated, and in fact at a certain excessive point might even relinquish it for a stronger presence of the tale and more powerful central themes. What roleplayers satisfy themselves the most with is this illusion of control and choice that gives them the ability to keep their suspension of disbelief and think, if only for a brief instant, that this is their epic tale, that they are weaving the webs of destiny, tragedy, war and love.
There's little doubt at this point that choice is one of the most important aspects of games, let alone the roleplaying side of RPGs. But, what more could be done? Through this whole analysis, it comes to mind that there is something missing, almost there, but not quite. What could be capable of allowing the factor of choice to come full circle in videogames and grant it its full potential in terms of interactivity? That's one question we'll perhaps discuss in another, longer, editorial, but for the time being, we'd like to leave the voice to all of you. The gamers. The roleplayers.
The RPGamers.
Be heard.
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