Created By: Folamh3 on October 15, 2013 Last Edited By: Folamh3 on March 31, 2014
Troped

Video Games and Fate

Fate, destiny and determinism as story elements in video games

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Video games (and other kinds of game such as tabletop games) differ from virtually all other storytelling media in that the player can actively interact with the world of the story, meaning that it is theoretically possible to create a game in which any choice the player decides to make is valid and they can dynamically change the story as they see fit. This will never be a practical possibility, however, so most video games with any sort of story focus tend to lead the player through a strictly linear story (albeit possibly one with prominent Story Branching and numerous Multiple Endings or Non Standard Game Overs) while continually presenting them with the illusion of free will and agency, and giving the impression that the Player Character is acting according to their own free will (with the Player Character typically being significantly disconnected from the player; see Player and Protagonist Integration). Some developers have picked up on the parallels between presenting the player with the illusion of free will while their future is predetermined, and classical ideas about fate and destiny, or the modern philosophical debate about the existence of free will, whether via psychological conditioning or so-called "hard determinism".

This trope is hence about video games in which the strict linearity of the storyline and the lack of agency afforded to the player is not employed solely as a gameplay contrivance but also as a storytelling device or thematic element. This can be used as a means of Painting the Medium or Leaning on the Fourth Wall, a device to express the themes of the game through its formal structure, or simply an amusing way to lampshade the inherent artificiality of the medium. It can also act as a convenient way to avert Gameplay and Story Segregation (as many of the examples on that page illustrate).

This can be done in various ways, such as by having characters discuss the concept of free will in dialogue, using tropes such as No Sidepaths, No Exploration, No Freedom to visually represent the player's lack of choice both in-game and in-story, or having characters actively announce their lack of free will. It can often overlap with Playing the Player, in which the player is actively deceived by the game and their expectations about it betrayed, but this trope need not involve deception.

A subtrope of Painting the Medium and Gameplay and Story Integration. See also Sliding Scale Of Linearity Versus Openness, Sliding Scale Of Free Will Versus Fate, But Thou Must, Railroading, Player and Protagonist Integration, Morton's Fork and You Can't Fight Fate.

Unmarked spoilers below.


Examples:

Adventure

  • The Stanley Parable is a lengthy rumination upon and critique of this concept, which pokes fun at the concept of choice and free will in video games.

Action-Adventure

  • The Legacy of Kain series takes place in a universe in which free will does not exist and all destinies are pre-determined; the only way to change destiny is to travel back in time and create a temporal paradox, which forces time to "reshuffle". Both player characters, Kain and Raziel, initially believe they have free will, before discovering that it is an illusion. At one point in the final game in the series, Defiance, Raziel is informed by another character that, as a result of a temporal paradox, he was in fact the only entity in the universe capable of free will, and yet his choices were nevertheless staggeringly easy to manipulate by outside influences.

First-Person Shooter

  • The strict linearity and use of No Sidepaths, No Exploration, No Freedom in the Half-Life series is a plot element as well as a gameplay device, reflecting how the protagonist's actions are being controlled by a mysterious entity called the G-Man (who at one point boasts that he'd rather not offer the protagonist "the illusion of free will"). This is particularly ironic given that the protagonist's name is Gordon Freeman.
  • In Bioshock, the Player Character, Jack, arrives in the city of Rapture following a plane crash and assists the mysterious freedom fighter Atlas in bringing down Rapture's corrupt and tyrannical ruler, Andrew Ryan. After a certain point in the story, it is revealed that Jack is a Laser-Guided Tykebomb who has been mentally conditioned into following any order that involves the phrase "Would You Kindly...", and Atlas has been using the phrase since the beginning to force you to help him. The point is driven home by Andrew Ryan deciding to commit Suicide by Cop and using the phrase to force Jack to beat him to death with a golf club, while repeating the phrase "A man chooses, a slave obeys".
  • The Marathon Trilogy's Security Officer, in contrast to the other FPS protganists at the time like Doomguy and Duke Nukem, is for all intents and purposes a pawn on the AIs' figurative chessboard, particularly Durandal, who enjoys rubbing it in about the protagonist's lack of freedom while bragging about gaining his. In the second game, Durandal, the Security Officer is hinted to be an Eternal Hero destined to battle evil for all eternity, whatever he likes it or not. And then in the final game, Infinity, the Cosmic Horror screws everything up, and the Security Officer has to take matters into his hands, while going slightly insane in the process somewhat similar to the AI Rampancy, in the end managing to break free from the AIs control. In the epilogue, moments before the heat death of the Universe, Durandal muses about the Security Officer, and concludes that he is Destiny itself.

RPG

Stealth-Based Game

  • The protagonist of the Hitman series, No. 47, is a clone who has been genetically engineered and conditioned for his entire life to be the perfect assassin. Although he is a relatively sympathetic Hitman with a Heart who desperately wants not to be an assassin and often feels guilty about the crimes he has committed (even attempting to retire at the beginning of the second game in the series), he finds it impossible to go against his genetics & conditioning, and continues to carry out assassinations.
  • The Metal Gear Solid series has this as an ongoing theme. Creator Hideo Kojima referred to the dominant themes of Metal Gear Solid, 2 and 3 as "gene, meme and scene" respectively, referring to the extent to which these three concepts could influence an individual's destiny:
    • Metal Gear Solid's protagonist is, as in the Hitman example above, a clone named Solid Snake who was cloned from the world's greatest soldier, Big Boss. Throughout the game, numerous characters opine that, as he is a clone, his genetic destiny is essentially pre-determined and he has no choice but to become a vicious Blood Knight. This theme is reflected in several of the other characters also, who often insist that they were pre-destined to make the choices they made as a consequence of their genetics. Subverting this trope, however, the game's "good" ending seems to more optimistically suggest that Snake's destiny is not pre-determined and he can choose to live however he pleases.
    • Metal Gear Solid 2 uses this as part of a Mind Screw Playing the Player plot device. The game centres on a new Player Character named Raiden, who is placed in a situation that exhibits eerie similarities with that of the first game in the series. At the end of the game, the villains reveal that their goal is to control society at large by systematically deleting information from the Internet which goes against the party line, and their More Than Mind Control plot was to see if they could control an individual's behaviour and choices simply by providing them with the appropriate context and misleading information for their actions (that is, if they could control Raiden by putting him in an artificial simulation similar to the first game). Even after Raiden learns the truth, he still nevertheless follows his orders to the letter, as he has no real choice (just as the player does not).

Third-Person Shooter

  • Max Payne 2 is entirely linear, with No Sidepaths, No Exploration, No Freedom (although there are two Multiple Endings depending on difficulty level). It also features numerous ruminations upon the nature of free will and destiny, with several of the characters debating whether they truly have agency of their own or if their actions are simply pre-determined.
    Vlad: Hypothetically, if the only choice you have is to do the wrong thing, it's not really the wrong thing. It's more like fate.
  • Spec Ops: The Line plays with this. Throughout the game, the interventions of the entirely well-meaning Player Character Cpt. Martin Walker only succeed in making the game's situation worse until the situation has degenerated to the point that hundreds of people have been killed and the entire population of Dubai is doomed to die of dehydration in less than a week. When questioned about his actions, Walker repeatedly insists that he had no choice but to carry out the actions he did, and so cannot be held responsible for the deteriorating situation. However, at the end of the game, another character calls him out on this and points out that none of the tragedies of the game would have occurred had he simply stopped interfering. Where it gets complicated is that, although in-story Walker could have turned around and gone home at any time, in-game the player is not afforded the choice to do so. The development team have however stated that putting the controller down and stopping playing the game is an entirely valid ending.

Community Feedback Replies: 18
  • October 15, 2013
    Koveras
    • The topic of destiny is a big thing in Dragon Age II: nobody really asks Hawke's opinion on being the catalyst of the Kirkwall disaster—it's just that no matter what s/he does, everything builds up to a catastrophe that erupts in the game's finale, sending quakes across all of Thedas. Exemplified by this quote from Flemeth:
      "There are men who struggle against destiny... and yet only achieve an early grave.
      There are men who flee destiny... only to have it swallow them whole.
      And there are men who embrace destiny... and do not show their fear.
      These are the ones that change the world, forever."
  • October 15, 2013
    NESBoy
    • In Limbo Of The Lost, Captain Benjamin Briggs of the Mary Celeste is been chosen as Destiny's champion against Fate. In The Stinger, Fate decides to go for another round, setting up Limbo of the Lost 2: Flight to Freedom (which is unlikely to see the light of day).
  • October 16, 2013
    KingZeal
  • October 16, 2013
    acrobox
    Unless there's Word Of God or real Leaning On The Fourth Wall happening i'd caution the examples. As in it needs to really be clear that the developers thought that the best way to tell a story about fate is through a videogame, or the best way to craft a video game narrative is to make it about fate. Otherwise this is just an intersection between theme and media form which is chairs.
  • October 16, 2013
    Paradisesnake
    ^^ It seems someone needs to read our article on Handling Spoilers.
  • October 16, 2013
    Folamh3
    We have numerous tropes that are just about intersections between theme and medium, I don't see how that automatically qualifies it for People Sit On Chairs.
  • October 17, 2013
    Koveras
    • Final Fantasy XIII and its sequel have fate as one of their Central Themes, though it is only first expressed in the gameplay in the latter: Serah learns to manipulate time and thus to replay events leading up to the ending as many times as she wants, even creating paradoxes along the way, but nothing can really change the conclusion of her story (namely, that The Bad Guy Wins and The Hero Dies).

    EDIT: Btw, OP, you can check out the CentralTheme.Video Games page and see if you can reuse some examples that mention fate and destiny from there.
  • October 17, 2013
    Folamh3
    Thanks, I'll have a look at that page.
  • October 18, 2013
    DAN004
    I guess it should be clear that this trope isn't just about a game having fate as a plot point - it has to be expressed in gameplay.
  • October 19, 2013
    Folamh3
    My argument would be that since no story-driven game features true freedom of choice, instead leading the player down a strict path, fate and linearity being expressed in gameplay are inherent in the nature of the medium.
  • October 19, 2013
    acrobox
    I'm not saying to scrap it i'm just saying the examples need to be tight. Otherwise it can devolve into 'a game that your supposed to finish, with a mention of destiny somewhere'
  • October 19, 2013
    Folamh3
    Fair enough. I do mention in the trope description, however, that fate has to be a story device or thematic element, which I think rather excludes casual mentions of destiny somewhere.
  • November 30, 2013
    Astaroth
    • In Bioshock, the Player Character, Jack, arrives in the city of Rapture following a plane crash and assists the mysterious freedom fighter Atlas in bringing down Rapture's corrupt and tyrannical ruler, Andrew Ryan. After a certain point in the story, it is revealed that Jack is a Laser Guided Tykebomb who has been mentally conditioned into following any order that involves the phrase "Would You Kindly...", and Atlas has been using the phrase since the beginning to force you to help him. The point is driven home by Andrew Ryan deciding to commit Suicide By Cop and using the phrase to force Jack to beat him to death with a golf club, while repeating the phrase "A man chooses, a slave obeys".
  • November 30, 2013
    DAN004
  • December 6, 2013
    CrazyCatKid
    Journey - The player and possibly the anonymous other player are working through each level. The interactions between the two players, whether they will help each other, or even if they will continue with each other is not determined, but the tasks and end goals are. Whenever a player starts straying from the intended path at the beginning a strong programmed wind will push the player back.
  • December 6, 2013
    Folamh3
    ^ I'm not sure if that's necessarily an example of the trope. That the end goals of a video game are predetermined is pretty much the default state of video games, and a programmed wind keeping players on the straight and narrow is functionally indistinguishable from an Invisible Wall, at least as far as I can gather. Are there any elements of fate or predetermination suggested in the story beyond what you've described above?
  • December 11, 2013
    izaakren
    Im not sure whether this counts, but Kingdoms of Amalur:Reckoning is all about fate and that everyone except you is bound by it. That is until you change their fate, like by killing the thing that was destined to kill them.
  • January 22, 2014
    Shinr
    • The Marathon Trilogy's Security Officer, in contrast to the other FPS protganists at the time like Doomguy and Duke Nukem, is for all intents and purposes a pawn on the AIs figurative chessboard, particularly Durandal, who enjoys rubbing it in about the protagonist's lack of freedom while bragging about gaining his. In the second game, Durandal, the Security Officer is hinted to be an Eternal Hero destined to battle evil for all eternity, whatever he likes it or not. And then in the final game, Infinity, the Cosmic Horror screws everything up, and the Security Officer has to take matters into his hands, while going slightly insane in the process somewhat similar to the AI Rampancy, in the end managing to break free from the A Is control. In the epilogue, moments before the heat death of the Universe, Durandal muses about the Security Officer, and concludes that he is Destiny itself.

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