Editor's Note: This well-written piece by Omar Yusuf dives into the complexities of conflict in literature and why videogames need to explore them more. And just so I don't scare you off with that synopsis, he talks about shooting stuff, too. -Shoe
Conflict, in its most narrative sense, is a fundamental element in all fiction. Without a source of struggle or strife, literature and films can appear vacuous or inane. Conflict generates a sense of purpose, a hurdle which must be overcome -- whether in the name of peace or triumph.
English classical literature has evolved in such a way that conflict is often categorized into one of several archetypes. These include: "Man vs. Machine," "Man vs. Nature," and the like. For the most part, these categories do their part; they make it easy to understand conflict in whatever context, whether it's between Luke and Darth Vader or between Holden Caulfield and the unkind New York City society.
Conflict in literature, the arts, or motion pictures is rarely physical. Often, it can be psychological or rhetorical, as categorized under "Man vs. Self" or "Man vs. Society." Christopher Nolan's Memento observes the strife which erupts when a man fights with his own memory and past. Isao Takahata's Grave of the Fireflies depicts the struggle which a boy and his young sister have to endure with poverty and neglect. Hell, even Aqua Teen Hunger Force has instances where Master Shake fights obtuse and intangible elements such as reputation, self-esteem, and identity.
Why is it then, that the majority of conflict in videogames boil down to shooting at nazis, terrorists, and aliens?