Rethinking Game Title sequences
After reading Andrew Popplestone’s great article on Game Title sequences it felt right to take a slightly different approach to the homogenisation of game and film titles. While we may be seeing more games trying to emulate the film title experience — I think that we should celebrate the unique experience that gaming-specific introductions can bring.
The gaming industry is bigger than both film and music, combined. It’s a well-known fact but one that still fails to grant gaming with the same reverence as its now smaller cousins. A large part of why is down to the fact that games have been around for far less time. Hollywood has always played a hugely influential role in how video games have structured everything from design to narratives and even characters. Only now are they starting to experience the cross-generational impact that films have achieved.
While a cinematic approach to title sequences feels like a natural fit for games such as Spiderman and strongly narrative-driven games — creating an engaging and interactive introductory experience is something unique to games. As opposed to the passive experience with TV and film, a game’s introduction can immediately transport you into that world. Interacting with the ‘titles’ is something that films simply can’t do.
When I think of memorable game introductions I think of Half Life’s train commute, Red Dead Redemption 2’s introductory cinematic, or Skyrim’s meme-worthy ride into town. The ability to mix title sequence with live interactive play does a brilliant job of world-building. There’s something magical about playing a role in the game’s introduction — seeing the names of those involved in creating this experience on screen and a final logo reveal sometimes 10 minutes into playtime.
One could argue that prologues and introductions serve a better role than traditional title sequences. One the first playthrough of Ori and the Blind Forest, you learn the basics of traversal and experience the entire range of emotions in a space of 5 minutes. You learn so much more about the game’s world before you even get going.
The lines between film and gaming are increasingly blurred, but some experiences don’t necessarily need to be the same to achieve greatness. Looking back over the last few years’ exceptional range of film and TV titles you can see a noticeable shift in their prominence. The amount of buzz and conversation around Stranger Thing’s intro when it first launched is a testament to that.
I genuinely look forward to seeing what the creative teams’ have concocted when it comes to the latest tentpole TV series. It has to be pretty damn good these days to avoid the ‘skip intro’ button. Credits especially — companies need to be increasingly creative in order to ensure the audience pays attention to the hundreds of people involved in creating your entertainment.
Games have the same challenge but have often brought in their own personal charm. Something unique to the industry again is how much fun you can integrate into your credit sequence. Easter eggs and end-credit scenes are a stalwart in films — but with games, you have the chance to switch things up.
Super Smash Bros turns the credits into a side-scrolling shoot-‘em-up. Halo changes the end credits depending on which difficulty you completed the game on. Before the advent of YouTube everywhere, games could create their own mythos. Unique endings or new routes and paths depending on a secret set of actions.
With the conversation around gaming continually evolving I would argue that it’s time to celebrate the unique entertainment and engagement videogames can bring. Maybe film titles can learn a thing or two from how games treat the experience?
