Analyze a particular game in terms of its look and structure and

its gameplay
Games are about much more than just gameplay nowadays. On the threshold of
a new medium we have the opportunity to explore extraordinary worlds and
stories interactively. Whether the aim is to play, to watch or just to hang out in
an imaginary place, the modern video game delivers an experience that is
entirely new. Entertainment will never be the same again.’

Dave Morris & Leo Hartas

Intro- narrative, look and structure, and gameplay.

Narrative has become an integral part of games. In Tomb Raider, archaeologist

Lara Croft is led around the world through various tombs and locations, in search
of the three ‘scion’ artefacts. Within the narrative, the player must use Lara to
solve puzzles, amidst battling dangerous animals and traps, as she works
towards finding the artefacts reference. The games necessity for a central
character, who must constantly overcome obstacles and enemies in a
environment designed to challenge her, means she is well suited to the
‘mythological form’ , as described by kelman. He suggests, games may be
‘better suited to telling mythical tales of epic proportion than any other medium
to date because of the inherent nature of their form’ (kelman, 2005, p.105).

When reflecting on the narrative of Tomb Raider, it is important to explore also,

how the narrative transcends through the look and structure of the game.

The games look and structure generally serves not only as a backdrop or setting
to the proceedings, but as an obstacle that must be overcome if events are to
progress (kelman, 2005). The structure of Tomb Raider enables Lara to run, jump,
side-step, swim and dive. A general button is used to perform various things
such as firing guns, picking things up, grabbing onto ledges and pulling switches.
Traps and enemies are what brings Lara to her death. Inanimate objects play an
important role in Tomb Raider-signalling progression in the game, as Lara
acquires visible and tangible rewards. Gardhighlights, ‘’a powerful Character
must be well adapted to its environment”. In Tomb Raider, Lara moves around
Tombs and ancient sites; looking for clues and overcoming traps on her quest- as
an archaeologist, she is well adapted to the look and structure of the game. The
world Lara explores is brought to life in three-dimensions and is characterised by
the places she ventures through. The games ability to imitate organic objects like
trees, faces, grass and animals develops an ‘intimate relationship among
players, images and technologies that is both material and aesthetic.’ (Gidding &
Kennedy, 2008, p.17)

There is a correlation between what players can do and what’s provided through
the look and structure of a game. In essence, ‘gameplay’ is how an environment
works.
Gameplay constitutes how directors form a game- in the objectives, point of view
and character design they employ, as well as the actual playing of the game. In
Tomb Raider, while Lara uses her unlimited ammunition to defeat all that stands
in her way, the intended objective of the game is to solve puzzles and perform
trick jumps to complete the levels. Essentially, the aesthetics of Tomb Raider lie
not in warfare gameplay, but in a ‘platform style’ of gameplay. Giddings &
Kennedy highlight, ‘While the aesthetic or subjective operations of choosing an
avatar [] on the one hand, and the use or driving of that avatar as a set of
capabilities on the other may seem autonomous, they are articulated- and the
nature of this articulation depends on the particular game being played and the
specific moment of gameplay within any particular event.’ (2008, p.23)

The game is presented from a third-person-perspective, where the player follows

Lara either from behind or above. This point of view works within the traditional
form of storytelling and allows the - player more freedom. Lara- as a separate
entity from the player- can act of her own accord and not disturb players. This is
because Lara is designed as an actor in Tomb Raider, rather than an avatar. ‘The
avatar is simply a visual representation of the player’s presence, within the game
world. The actor is a character distinct from the player, with its own personality,
characteristics, and, to some extent, mind” (Gard, 2000).Lara is distinct from the
player and isimbued with a personality of her own. When playing Tomb Raider,
Lara is attacked by animals and falls into traps, not the player.

Gameplay and character design are closely linked, as a characters’ abilities will
dictate the decisions made in gameplay (Gard, 2000). Characters were once
created from a handful of pixels, yet overtime technology has come to render
more believable and realistic characters. Morris and Hartas highlight, ‘Now
games are at a point where they rival Hollywood in realism and visual splendour.’
(2004, p.20)

The above pictures show the digital development of Lara Croft from an earlier design in
1996 (top left) as opposed to a later, more realistic Lara in 1999 (top right).

‘Lara was [one of] the first to make a critical leap when she was promoted as a
synthetic individual- a woman with her own personality and life outside of the
role she played in the Tomb Raider titles. (kelman, 2005)
To establish a good character, you must create all the visual clues that

‘To create a really good character, you have to control all of the visual clues that
people use to judge each other and establish a clear, unified message to make
players interested in, and ultimately like your character.”

Gard (2000) argues the choice of the characters gender is critical in gameplay.
He suggests that, a design which objectifies the character will prevent player
from empathizing with it.

“If the character is attractive, believable, and commands respect, players will
grow fond of it.” Someone playing a character of the same sex would grow to
admire the character and perhaps encourage them to emulate these amiable
qualities. In 2006 Tomb Raider the movie , starring Angelina Jolie as Lara Croft,
was released. Giddings and Kennedy argue that players will identify more
profoundly with the video character as opposed to the movie character, as they
can control the video character’s decisions and actions. ‘Driving an avatar
involves utilising a console, identification is occupation; literal and mechanized.
..When Lara dies her temporary mortality returns the role of subjects to her
operator. She exerts violence with us, and then she dies for us, over and over.’
(Carr, quoted in Giddings, 2008, p.23)

“Games are set apart from all other media by their reactivity; they constantly
change and shift in response to input. They are an active experience requiring at
least one participant, not a viewer, reader or listener who remains passive, but a
player. The implications of this distinction are both far reaching and profound.”
(kelman, 2005, p.20).

Bibliography:

Gard, Toby (2000)’Building Character’, accessed: 15/06/09, available:

http://www.gamasutra.com/features/20000720/gard_01.htm

Giddings, S & Kennedy, HW (2008), 'Little Jesuses and *@#?-off robots: on

cybernetics, aesthetics, and not being bery good at Lego Star Wars', in M
Swalwell & J Wilson (eds.), The pleasures of Computer Gaming: Essays on
Cultural History, Theory and Aesthetics, McFarland & Co, Jefferson, N.C,
pp13-32
Kelman, N (2005) ‘Video Game Art’, New York: Assouline Publishing

Morris, D & Harris, L (2004) ‘The Art of Game Worlds’, United Kingdom: ILEX
Press