As a young writer who thinks too highly of himself–and as a self-loathing capitalist eager to find the next market that will put a dollar in his bank account–I am intrigued by possible career path of writing for the video game industry. I imagine that the backlash the gaming community has received from literary elitists mirrors the hate mail sent by the old guard to the first filmmakers who picked up cameras in an effort to capture the human mind rather than the human wallet. Hideo Kojima, writer/director of the Metal Gear video game franchise famous for twists and conspiracies that would leave David Lynch spinning, has famously stated that video games are not so much art as they are a “service”, despite the fact that his own creations are often held up as prime examples of video games as art and/or literature. I can understand where he’s coming from, his belief that a game should engage through interaction rather than through introspection; but in the same way that the best novels have inspired generations of young men and women to pursue writing, the best games–paragons of interactivity–have also spawned thesis-papers’ worth of reflection. And, drawing on another example from my gaming life that has fostered my belief in video games as literature, I wonder how one might watch the opening 15 minutes of Naughty Dog Inc.’s The Last of Us and not believe in the narrative and provocative power contained therein, the artistic and literary nature of the piece.
For examples of how Hideo Kojima’s Metal Gear series can be examined in a literary / artistic light , check out the community-driven study “An analysis on genetics, evolution and information regarding Metal Gear Solid 2:Sons of Liberty” (try to overcome the poorly formatted html scripting), as well as Chris Zimbaldi’s essay “Metal Gear Solid 2: Sons of Liberty as a Post-Modern Tragedy.”