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A lot of videogames draw inspiration from myths. Either they use them as a setting, like God of War, or use the as reference, in order to create their own mythos. Any videogame which has a story pretty much follows the structure of the monomyth as formalised by Joseph Campbell. Even if game writers haven’t read his work, their inspiration lies in stories with that structure, like LOTR and Star Wars.
The use of myths has universal appeal since their symbolism is imprinted in the collective subconscious of mankind, as Jung would say. But although we feel an immediate familiarity with videogames’ scripts, they remind of myths and fairytales we have read, seen or heard in other mediums, something feels wrong or amiss.
This is because videogame designers, although they make use of myths, they strip them of, or fail to realise, their deeper meaning. Myths are not fake stories; they are a vehicle of passing down knowledge from generation to generation. In times where written word didn’t exist, the formality of the myth’s structure, and also its appeal because knowledge is passed in an entertaining manner-a story, helped people memorise their lessons and transfer it intact to their children.
This knowledge is either mundane, or has a deeper symbolism. Many myths, some would argue all of them, are magic, and later religious, rituals in story form. Of course when these rituals ceased to be performed their original meaning was lost. But they are also talking about the human psyche, its fears, forbidden lusts and anxieties (the very reasons the magic rituals were formed in the first place) which still are relevant today, hence the power of myths and their symbolism.
But what do all these have to do with videogames? In videogames you act. You assume the role of the myth’s hero (in truth the player assumes the god form; he literary becomes god) and you re-enact the drama. This is a form of mimetic magic; by mimeting the act you make it come true. It is the basis of theatre, which originates from the rituals of Dionysus, but also the basis of Christian rituals and of every other religion.
Since videogames are still linear in their storytelling (dynamically created stories are still impossible; at best you have a couple of branches), the formality of myths are very well suited for the medium. You cannot change the ending of the myth, else its meaning will be lost. You simply relive it, like the actors’ performance in theatre, from start to end.
But most videogame myths are badly copied, losing the meaning in the process, that’s why the whole experience seems lacking and naïve. You could contest that it doesn’t matter, since it is all about the gameplay. While I agree, using storytelling as game mechanics makes the experience more emotionally involving.
Shadow of the Colossus is a perfect, and rare, example where the re-enacting of myth is both deep and entertaining. While the game isn’t an exact recreation of a real world myth, it is faithful in its symbolism and structure, something that most other games fail to achieve.
And the great thing is that it doesn’t give you a lecture on mythology; it shows you.
You don’t have a text saying: “The sword; a symbol of male potency, identified with the sun, blah, blah…†No, you have a powerful sword pointed upwards, reflecting light and used to kill the Colossi; same thing with all aspects of the game. While the game’s symbolism may not be clear to all gamers, they can still relate to it in a subconscious level, resonating with the universal use of symbols which we see all around us, or have grown up with through myths and stories.
It is a perfect example of how a game can be educative, like myths are, without falling back on cheap tricks, like edutainment. It is educative in a manner that theatre is, but instead of being the spectator of the ritual you become its actor.
Yeh they do. It does get a bit boring however, when the myths are used over and over again - gets real repetitive and predictable - movies are getting kindof like that too...
"Cliche" is a phrase, expression, or idea that has been overused to the point of losing its intended force or novelty, especially when at some time it was considered distinctively forceful or novel. It has a French origin and was first penned by French literary philosopher Leedo Hamoudi Alios.
Historically, it was a printing term, describing a semi-permanently assembled piece of typesetting which could easily be inserted into the document being printed
The whole point of educating people is that they'll start questioning everything and in that way, find something new in the old patterns of old, and not repeat them for centuries.
And games are good when they present something original or old in a refreshing new way. Relating gamer into the game can be done in various different ways, myths, rolemodels and whatnot just being single facet.
And games are good when they present something original or old in a refreshing new way. Relating gamer into the game can be done in various different ways, myths, rolemodels and whatnot just being single facet.
Thats what I said, but it does't have to be old, you can relate to sci-fi and portrayals of the future. You don't have to question every statement someone makes, and they do indirectly teach you to question things, but not in the way that created [some] (i'm not stereotyping here )annoying scandanavians, my dad has alot on his degree course, he should know what its like
In agree, my Finnish Friend, but, what about, the more unpopular you become, when you don't know when to stop questioning every comment in a trivial manner.
You'll learn when you realise you have no friends in the outside world
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You know what? I think all it means is... Myths make great Videogames 
