Game Development Reference
In-Depth Information
Bioshock
's
physical and moral layers of meaning are provided by its mechanics,
which enforce the player's need to survive and calculate the effects of his moral
decision-making. The aesthetic layer of meaning comes from its artwork, and the
political layer from its story, told through moments of narration. It is not a game to
be emulated easily, but it is well worth studying.
Contrast between Appearance and Mechanics
September 12
, designed by Gonzalo Frasca, states on its instruction screen that it
is not a game but a simulation that allows users to “explore some aspects of the
war on terror.” It presents the user with an isometric perspective of what looks
like a cartoonish Arabic city (
Figure 12.6
). In the city, civilians and terrorists walk
around; the terrorists are visibly carrying guns. As the player, you can launch mis-
siles at them, which will destroy buildings and kill terrorists and civilians on impact.
However, it is hard to aim the missiles precisely, and they do a lot of collateral dam-
age. Most importantly, civilian casualties cause other civilians to transform into
terrorists. The best way to keep the number of terrorists under control is to do noth-
ing, because over time the terrorists transform into citizens. As a simulation it is a
very simplistic representation of the war on terror.
September 12
might refuse to be
called a game, but it definitely is not an iconic simulation, either.
FIGURe 12.6
September 12
The significance of
September 12
for a large part arises from the contrast it creates
between its appearance and the way its mechanics operate. In appearance,
September
12
looks very much like a cartoony shooter game, not unlike many similar games
you can find on the Internet. However, the mechanics are set up in a way that
goes against the typical shooter game: shooting doesn't get you closer to the goal,
assuming the goal is to get rid of the terrorists.
September 12
cleverly makes use of
