Procedural rhetoric in Super Meat Boy

Super Meat Boy, an iconic indie game*, is a perfect example of procedural rhetoric. There’s a constant difficulty in every single stage of the game and it forces the player to discover the right way to solve the different types of challenge.



One hit, you die. So, it’s important to memorize each step inside the phases. When a stage ends, it’s possible to see all the deaths of the charismatic Meat Boy happening at the same time. Check some examples of the game dynamics and mechanics below:



The idea of learning from fails dialogues with the concept of procedural rhetoric. According to Bogost (2007, p.3) “just as verbal rhetoric is useful for both the orator and the audience, and just as written rhetoric is useful for both the writer and the reader, procedural rhetoric is useful for both the programmer and the user, the game designer and the player”.

*Watch the creative process of Super Meat Boy in the documentary INDIE GAME: THE MOVIE.

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REFERENCE:

BOGOST, Ian. Persuasive Games: The Expressive Power of Videogames. MIT Press, 2007.

From the past: ICO

Ico is a 3D adventure game developed by Team Ico (2001) and published by Sony for PlayStation 2. I played this game many years ago and am, at this moment, playing the HD version for Playstation 3.

I really like to replay some games years later to observe things that I didn’t notice the first time. From 2001 to today, I have read many books and studied a lot about gaming concepts and game design, so this is a singular opportunity to discuss some important features of this game with an updated view.



The story of the game is about Ico, a boy who was born with horns, which among his people is considered bad omen. Ico is locked in an abandoned dark fortress, where he must explore and run out from. During the exploration, Ico encounters Yorda, the daughter of the castle's queen. The queen has an evil plan to possess the body of Yorda for eternal life and Ico needs to take the girl out of the fortress. The main mechanics of the game is created with puzzle-solving and some combats against demoniac shadow creatures (it’s truly creepy).

You can check the gameplay and game’s intro below:



The game breaks a paradigm of the gaming industry by presenting an interface devoid of tutorials. By controlling the character, the player must try the buttons and add knowledge from other games he/she played for solving puzzles and traversing the scenarios.

Sometimes it is quite difficult to visualize how to solve a puzzle or what sequence of commands must be clicked. However, this is not a defect, it is a gaming feature. Ico works with the idea that we must explore the environment and learn from it. The game operates on a very strong procedural logic/rhetoric inside its interface.

As Bogost says (2007, p.3) “just as verbal rhetoric is useful for both the orator and the audience, and just as written rhetoric is useful for both the writer and the reader, procedural rhetoric is useful for both the programmer and the user, the game designer and the player”.

So, it’s good to have a chance to discuss old games with new observations. I’ll try to do this more frequently from now on.

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Reference:

BOGOST,Ian. Persuasive Games. The MIT Press, 2010 (paperback) http://mitpress.mit.edu/books/persuasive-games

A little bit about THE UNFINISHED SWAN

The Unfinished Swan (Giant Sparrow, 2012) was a great game launched for Playstation 3 platform last year. Hands off, one of my favorites from 2012 and a game from which we can learn many things.

The Unfinished Swan is about exploring the unknown. The player is a young boy chasing after a swan who has wandered off into a surreal, unfinished kingdom. The game begins in a completely white space where players can throw paint to splatter their surroundings and reveal the world around them (you can visit the official site here).

The game has many positive features and I believe it is possible to extract valuable lessons from its interface. First of all: like Portal (Valve, 2007) it's a first-person puzzle-platform, but here you shoot paintballs around the scenery to solve enigmas. A great part of the game is made of a completely white screen and the challenge is to discover the paths to move along. The video below shows the basic dynamics of the game:



Another important point about the game is a good balance between storytelling and gameplay. You are an orphan trying to find the painting of an unfinished swan made by your mother. The swan gained life and escaped from the frame to a mysterious world of fantasy, and it's your mission find it and bring it back with you. Inside this narrative the game offers a very clever dynamics of puzzle solving using ink to paint parts of the ambient.

The game has good procedural rhetoric embedded in its interface. You learn gradually how to interact with the interface and how to use different kinds of special powers.

Finally, The Unfinished Swan is an indie game that managed to draw attention of a large producer (Santa Monica) and was launched with support and good advertising.

Undoubtedly, The Unfinished Swan is a living example of another kind of configuration of the gaming industry. A creative independent game launched by a small studio, supported by a great publisher, with many mechanics/storytelling innovations and focused on a casual player. I'm happy that the gaming market today has also room for this kind of initiative (it's a great incentive for game designers all around the world).

Procedural rhetoric and games

There's a wide discussion about the persuasive power of games (video games, specifically). Frequently, we can see questions like "is it possible to learn from games? ", "could games change our ideas?" or "can you pass a conceptual/serious message through games?".

Well, the answer is “yes” if you consider video games as tools of procedural rhetoric.



As Bogost says (2007, p.3) procedural rhetoric is the practice of using processes persuasively. More specifically, procedural rhetoric is the practice of persuading through processes in general and computational processes in particular. Just as verbal rhetoric is useful for both the orator and the audience, and just as written rhetoric is useful for both the writer and the reader, procedural rhetoric is useful for both the programmer and the user, the game designer and the player.

We can see this kind of resource in educational, serious, persuasive, military and political games, among others. So, let’s work: I suggest an intensive navigation through these URLs:

• Molle Industria/
• Social Impact Games/
• Persuasive Games

Go gamers!

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Reference:

BOGOST, Ian. Persuasive Games: The Expressive Power of Videogames. MIT Press, 2007.