Have you seen Punch-Drunk Love? The thing about that movie is that it takes Sandler's film personality, but abstracts it out from the context of blatant comedy and inserts it into a low-key tragedy, with the skill & taste of an auteur writer/director (Paul Thomas Anderson).
It's quite wonderful, and now I'm thinking about what the equivalent for Halo would be. Maybe a game that brings out the tragic aspects of war -- not just as shocking gore, but as sadness and horror. Maybe a game about a Halo warrior's post-war life, a civil Sim-type game interrupted by disturbing scenes of post-traumatic hallucination & paranoia. Or a game that starts out as a shooter and becomes impossibly difficult, until the player's inevitable death, after which the real game begins, taking place in a Tibetan Buddhism-inspired series of post-death liminal states of terrifying scenes of his past sins.
One of the things that attracted me to the first Halo series was the humanity of the writing. Halo (especially the first one) never glorified violence in the lore of the game. There is much lamenting the horrifying situation that Master Chief finds himself.
This is of course completely lost in multiplayer, but I'm not sure how you can blame bungie for the non-authored parts of the game.
Well, Bungie has some good writers, but the very concept of the game they created is inherently xenophobic. You're pitted against an Other who exists only for you to kill. Eventually, you are allowed to see that this Other is more complex than that, and therefore maybe not worth killing unnecessarily, but now you have a new Other to mindlessly kill, and there's not a whole lot of awareness that there's an irony to the change.
The story of a game is told through gameplay, not through cut scenes in between. The gameplay of Halo is, "kill these things". Not much more complicated than that. The writing can self-pity itself as much as it would like, but the fact remains that Bungie created a game in which there is only one possible course of action, and that is to kill. That multiplayer is such an aggressive shitpile, legendarily so in Halo's case, only goes to show that beneath the facade of "story" in Halo, there is pretty much just "shoot things and feel like a badass for doing so, or else get pissed off that somebody is better at shooting you than you are for them."
Jonathan Blow, who's a brilliant game developer in his own right, gave a lecture in 2008 about exactly this sort of dissonance between storytelling and gameplay. He does a great job pointing out that even the best titles in gaming, like Grand Theft Auto and Half-Life, do a poor job of aligning in-game story with the actual play. It's long, but if this is a subject that interests you, then it's absolutely worth giving a look: http://www.youtube.com/watch?v=mGTV8qLbBWE. (Whilst studying this subject for my undergraduate thesis, I also took notes on this whole lecture, so if you're feeling lazy I could upload them for you; let me know if you'd like that!)
Punch-Drunk Love is one of my favorite romantic films! Adam Sandler is a damned talented man, don't get me wrong. That's why I'm even more okay with criticizing his more standard fare. The dude can do better.
I think the key to understanding "how to do the FPS better" is that the first-person model doesn't only have to exist for shooting. It's a very potent set-up because it's "virtual", and limits your perceptions to the scope of the character you're controlling. You could make a game that involves guns but is not strictly a shooter, and therefore has the freedom to give you a certain context into what surrounds your actions.
As much as I love Buddhism in my video games, I feel like your idea might feel too preachy to your average player. But how about this for a set-up? The game starts off as a "sports" shooter game – say, paintball, or something of the sort – and you're a person with a couple bucks and a passion for the game. Ultimately, you get to a point where you're up against people with much better equipment than you, and the game becomes almost a test of masochism: how many times will you try before you give up? But there's a whole other world out there, offering you opportunities to make a quick buck. And whether you pick a live of military service or a life of crime, you're put back into a situation with guns, only now the stakes are infinitely higher. There are no second chances.
A game like that could really play with character development, both by looking at the people who serve along with you, and by making enemies something more than faceless soldiers. Give you the impression, perhaps, that the only people fighting these fights are people who don't have the idle money to play paintball all their lives, and that you're being sent to war against yourself, against people who are pretty much just like you. Except that sometimes, you're fighting for the rich people who want more, and sometimes you're fighting as the underdog, against a group of greedy people who are willing to use violence to get what they want.
Of course, if you're looking to avoid that kind of morality, you can always stick to playing paintball. But you're aware of the fact that even there, you haven't quite escaped from the world as thoroughly as you may have liked...
> It's quite wonderful, and now I'm thinking about what the equivalent for Halo would be. Maybe a game that brings out the tragic aspects of war -- not just as shocking gore, but as sadness and horror.
Last year's Spec Ops: The Line did a lot of this kind of work, subverting the FPS genre while you play through it. Zero Punctuation's review of it is insightful as usual: https://www.youtube.com/watch?v=HNhPMjbgkXA
Really? For me that phrase definitely means "movies starring Adam Sandler". A lot of (most of?) the movies written/produced by Adam Sandler also starred him, but that doesn't exclude other movies. I definitely think of Punch-Drunk Love as an Adam Sandler movie.
It's quite wonderful, and now I'm thinking about what the equivalent for Halo would be. Maybe a game that brings out the tragic aspects of war -- not just as shocking gore, but as sadness and horror. Maybe a game about a Halo warrior's post-war life, a civil Sim-type game interrupted by disturbing scenes of post-traumatic hallucination & paranoia. Or a game that starts out as a shooter and becomes impossibly difficult, until the player's inevitable death, after which the real game begins, taking place in a Tibetan Buddhism-inspired series of post-death liminal states of terrifying scenes of his past sins.