Priests would carve his likeness on temple walls to warn each other of the presence of poison dart traps. What is it?” And the character responds, “That is the depiction of the frog god Memenkotup. As you explore the ancient temple you’ll come across a trap or a puzzle -īack to the conversation and after navigating the dialogue tree you ask, “I’ve seen etchings from certain tablets depicting a strange creature. Just instant jump cut.Īnd this could be extended. No traveling there no leaving the cantina, no getting on an airplane, no hacking through the jungles of Borneo no cutscene, no loading screen. You instantly jump cut outside the temple of Angkaman in Borneo. The character you’re talking to leans forward and says, “The amulet was buried in the temple of Angkaman, hidden in the jungles of Borneo.” You’re navigating a dialogue tree with this character because you know that he knows the location of a fabled artifact. You’re having a conversation with someone in a torch lit, Moroccan cantina. Let’s say you’re playing as a treasure hunter or something, a tomb raider, if you will. You never actually play through the battle and what happens during it is simply implied. It could simply jump cut back and forth between the approach aboard the spaceship and the exploration of the facility in the aftermath of the battle. Or! The sequence could forego the battle altogether. And then you cut back to the battle scene. Some masonry crumbles from the ceiling and lands next to you the hand of a defeated enemy twitches briefly and then grows still. You have less ammo and you can see corpses of monsters that you have yet to fight in the battle sequences which would be some great foreshadowing. Instead of cutting backwards in time the cuts could jump forwards in time to after the battle is over and you’re exploring the facility amidst the carnage. You could even use the jump cut in that situation a little differently. *snap* You’re back in the battle! Blam Blam Bang SNARL ETC.! Your Sergeant briefs you on what to expect. You do some computer scans of the facility. You’re back fighting monsters right where you left off and again you’re fighting and shooting and. You test your equipment, inspect your weapons. You chat with your squad mates through a dialogue tree. It travels towards the facility in which you’re about to do battle. You’re in some location, maybe an infested space facility, and you’re shooting space monsters with your laser guns, and there’s monsters running at you and. So, here is my first example of hypothetical jump cuts, which is what popped into my head while I was idly musing. And then this led me to go on a couple tangents about the general lack of artistic devices in games and the attitude some people have that games are fundamentally different and/or better than any other art forms. ![]() So, I decided to talk a little about this narrative device in games. The breaks that do happen are between levels, if the game has levels, or through cutscenes that create bridges between two different locations. ![]() Almost all games have an uninterrupted, linear sequence of events that play out through an unbroken span of time. ![]() I was musing about video games the other day and for some reason, out of nowhere, I got this vision for the use of a sequence of jump cuts that I don’t think has ever been seen in a game before.Īnd the more I thought about it the more I realized that the act of suddenly, and without effect, cutting from one scene to another is almost never used in games.
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