Time to Visit Yokosuka - Game Invaders: The Theory and Understanding of Computer Games - page 126

Many of the rewards in Shenmue are social; the game is a highly social space
and one which is far more complicated than the “physical” space of the various
neighborhoods of Yokosuka. But rewards are not the PSAS themselves, though they
can be if the perceivable consequence is an extended cut scene. Rewards are what
we make of perceivable consequences, what we fi nd signifi cant in them, and what
leads us to select a new attractor to set the cycle off again.
We have not fi nished with POs or aesthetics for that matter yet. We will deal
with choice points, challenge points, narrative potential, co-presence, and so on a
little later after we have considered PSAS and cut scenes as perceivable conse-
quences and their infl uence on gameplay a little more.
PSAS AND CUT SCENES
Let's make the distinction between PSAS and cut scenes clear. A PSAS is a short,
prescripted action sequence, up to a few seconds long, that results from our exercis-
ing agency. It could be Ryo opening a door, or a question and answer session, for
instance. Traditionally, a cut scene is a longer, usually prerendered sequence that
offers information that will progress the storyline. They are similar but play different
roles in Shenmue. PSAS are so integrated within the exercise of agency in Shenmue
that many players do not realize they exist until they are explicitly pointed out. The
only times that we are offered direct action in Shenmue are when:
• We are switched to driver or have chosen to ride the moped,
• We are switched to puzzle and thrust into a Quick Time Event (more below),
and
• We are playing console or arcade games (in Shenmue),
• We are switched to beat - ' em - up.
On a historical note PSAS were not new to Shenmue. They are actually the
basis of the gameplay in standard beat -' em - ups where particular button press com-
binations trigger particular martial arts moves. In this way, PSAS go way back into
the history of games.
Perhaps the opportunities for direct action are included as a kind of temporary
respite from the PSAS and cut scenes. They give us more direct control but only
when the Shenmue game logic allows it. Perhaps Shenmue is saying therefore that
agency and narrative do not mix. This observation has been made by a number of
people. The game is a story after all. We do not share that observation, as will quickly
become clear.
There is another view. Perhaps what we have got in Shenmue is agency with
integrated micronarrative components (PSAS) and that these support the more
normal use of cut scenes proper, as is the case with other game types exemplifi ed
by Driver, Thief, and Unreal. All these games use cut scenes in a traditional video-
game manner to put levels in context and tie in the next level or major level subsec-
tion, as is the case with Driver. The makers of Unreal 2, for instance, state quite
categorically that “the story line is not allowed to get in the way of the action.” In
that game each level is introduced by an “interactive cut scene” in which we have