So a lot of people are saying that the relationship surrounding a sex scene is really important, and it's made me think of at least one thing which very few video-games manage to do with their character's relationships.
I don't want to get too story-telling 101 about this, but I think most people would agree that conflict is a pretty important part of any narrative, and what most games (and a lot of films and books) fail to do is actually inject any honest-to-goodness conflict or obstacles. It's just a slow, dead, inevietable passage from not banging to banging. I think most of the romance options in Bioware games are like this, with a couple of notable exceptions; You talk to Kaiden enough and you know that you will have a relationship. I guess the giant space-robots might be conflict enough, but it doesn't stop the romance feeling sterile and boring.
But there are exceptions. I was really impressed by the Kaiden romance in Mass Effect 3, because it was one of the only romance options that felt particularly real, and I think that was because it revolved around a central conflict - whether Kaiden could forgive Shepard for running off with Cerberus. It didn't stop the sex scene being shitty, but it provided the possibility of a non-shitty sex scene. Thinking about it the Bastila romance in KOTOR is a good example of how a romance can do something different, by sort of using it to say something about the duality of both her character and the player character, and I suppose to provide a hint that you are darth revan, because maybe your character has some darker nature that attracts her to you.
In other cases, as well, the primary conflict of a game is also made the central conflict in the romance. Like, in Dante's Inferno, (can we call that a romance?) the conflict of trying to murder helldudes is also the conflict of trying to retrieve your lady. If you wanted to give the writers of that game even a modicum of credit I suppose you'd say it's all an allegory for trying to win a girl back after you cheat on her in the crusades. I think the problem with that becomes clear when I think about Grim Fandango, which is very similar in terms of the driving force of the plot being intimately bound up with the driving conflict in romance (which is that Manny wants to retrieve the girl from evil dudes whilst foiling their evil plan). The difference though is that there's also bits of secondary conflict which impact more on the romance element of it than the overarching story part. SO in chapter 3 she is really pissed off at Manny and he wants to know why. At the beginning he feels bad for her having to go on the 4 year journey even though she led a good life.
I'm doing a poor job of explaining myself, and I suspect I am running up against one of those ineffabilities of taste that you do sometimes get. But anyway, those are just some off-the-top-of-the-head thoughts about what is successful in giving relationships the emotional impact needed to support a meaningful sex scene, I suppose. I'd be interested to hear if anyone agrees, or can reel off examples that prove me wrong, or whatever.
Log in to comment