Need For Speed: Most Wanted
The technological advances in simulations have been extraordinary over the past couple years. Not necessarily in games but the ideas of “simulations” in general are opening up different doors of opportunities in our growing society. Though, I want to show the impact of the idea of a simulation and a narrative incorporated in a video game. As Gonzalo Frasca shows us, his idea of “authorship” represents the distinction we are able to make between simulations, representation, and narratives (WP, 222). Although, videogames such as Need For Speed: Most Wanted are designed to follow a narrative, while at the same time we are playing a simulation that allows almost an infinite amount of ambiguity. In my opinion, putting the two together results in a very fun and very “long lasting” game—meaning we will not become bored with it because its like playing a new game every time we turn it on. Thus, as Frasca attempts to show the differences between simulation and narrative, I will explain how having the two will benefit the time spent playing the game.
The game play of Need For Speed (NSF) is based on a street racing storyline. The significance of the narrative is that it actually guides the player through the list of opponents that must be defeated. But the story simply acts as a guide; the player can essentially drive around, damage city property, wreck other cars, and evade cops. Without a storyline, NFS would basically resemble Grand Theft Auto except rather than controlling a human, we are driving a car. The story’s narrative in the game allows there to be some type of order, while at the same time being allowed to free-roam the cities. The story is narrated by a young lady that tries to “coach” you through winning different events and racing against opponents. She gives you tips and keeps your head up after a loss, and also gives you the background of your opponents. We feel the need for guidance to an extent—a meaning to our journey and a conclusion to the story. Thus, Frasca states that “narrative mechanisms are cognitive structures deeply hard-wired into the human mind” (WP, 233). The story aspect of videogames must be included or players will feel unguided and confused—thus the cross between narrative and simulation.
Frasca describes the direct differences between simulations and narratives as he says that the main difference is ones ability to actually influence what is happening. For example, the narrative segments shown in NFS cannot be altered or messed with. Those segments will show the same every time. The simulation actually begins when we are out driving around the city. There are no rules or boundaries to the game because it is designed to replicate high speed police chases and street racing circuits. The ambiguity of the simulation is what keeps the players playing. One of the main characteristics of simulations is that the same thing is not repeated over and over again. Usually the player has control of most of what goes on in the game and carries themselves through the objectives the way they desire. A very clear example of this is given as Frasca states, “the feeling of playing soccer cannot be compared to the one of watching a match” (WP, 224). Our manipulation and influence on things such as the vehicles in NFS give us a direct illustration of how a simulation works.
The main characteristics of narratives and representations are that there is no influence in what is happening. Films, for example, are great representations of what narratives are. But the idea of film constantly crosses the videogame world because of their desire to incorporate stories and meaning behind what is being played—a feature I believe is very much desired in the gaming world. Why must I beat all the racers on the list in NFS? If I do not win any cars, reputation, or money then why do it at all? The answer is that we all desire to see the conclusion of our actions, and videogames such as the Need For Speed games give us this. If we fail from avoiding the police, our vehicles get impounded and we must pay a bail. If we lose a race, in some instances we lose our car as well. Thus, we must beat the game; we must reach the end of the story—while being able to finish it however we want.
Frasca’s claim is that “simulations can express messages in ways that narratives simply cannot” and I completely agree with him (WP, 225). By carrying through with a task yourself you are able to learn and become better at the game rather than just watching. Accordingly, “simulations require repetition”, we can start over and there are endless possibilities to alternate endings (WP, 227). For example, in NFS it may take 4 or 5 tries to beat a very tough opponent, but even after beating him there would be almost an infinite possibilities to win; knocking things over in the road to slow him down, running into him and making him spin out, winning by a hair, using your boost and winning by 10 seconds. The endings to each simulation are, well, endless. The sequences of such events are never “fixed”, as described by Frasca, which help keep the interest of the players. Thus, our minds desire a story to go by, but we also desire the ambiguity of modern game play. Consequently, more and more games are being designed with this type of simulation, allowing us to manipulate the features in the story, while completing the main story at the same time.