The primary conflicts in almost every video game (especially in the AAA space) are external, physical conflicts. So, either enemies or the environment stand in the way of your goal. you almost always surmount these obstacles with combat, traversal challenges (platforming), or physical puzzles (stepping on switches, pulling levers, pushing blocks, etc.)
There are very few games in which the primary conflict is not physical (an internally conflicted character, an ideological battle between characters, a scenario where a character stands against societal ideals, etc.) I know some gamers lambaste walking-simulators, but these games are some of the best at exploring these forms of conflict that are rarely touched in interactive media. In Firewatch
and in Gone Home the main conflict is
. Both of these games also have secondary external conflicts related to physical navigation, but those aren't the primary fulcrums around which the stories revolve.
Celeste is another interesting case. The primary conflict in the story is internal.
I thought that this was an interesting way to adapt internal conflicts to the medium of games. I'd be interested in seeing more games try this approach.
Other narrative media (film, TV, books, etc.) explore the full range of conflict types on a regular basis. Are you fine with the fact that games focus almost entirely on physical conflicts? Is the medium just not well-suited to games that tackle internal conflicts?
There are very few games in which the primary conflict is not physical (an internally conflicted character, an ideological battle between characters, a scenario where a character stands against societal ideals, etc.) I know some gamers lambaste walking-simulators, but these games are some of the best at exploring these forms of conflict that are rarely touched in interactive media. In Firewatch
Henry is running from his past and navigating his relationship with Delilah.
Samantha and Lonnie's desire to be together, set against the backdrop of '90's America which wasn't exactly accepting of gay relationships.
Celeste is another interesting case. The primary conflict in the story is internal.
Madeline is struggling with depression and self doubt, however this is expressed through platforming challenges and enemies which act as metaphors for her internal state.
Other narrative media (film, TV, books, etc.) explore the full range of conflict types on a regular basis. Are you fine with the fact that games focus almost entirely on physical conflicts? Is the medium just not well-suited to games that tackle internal conflicts?
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